DOCSLIB.ORG

Street Art 1 Preview

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Street Art 1 Preview Artist: PichiAvo for Upfest, 2016 Photo: Colin Rayner Location: Masonic Pub, 112 North Street, Bristol, UK Contents Foreword 5 Los Angeles 82 Festivals 158 Introduction 6 Miami 88 Murals in the Market 158 New York 92 POW! WOW! 162 Europe 8 Interview / FAILE 98 MURAL Festival 166 2 Amsterdam 8 San Francisco 100 Forest for the Trees 170 3 Athens 14 Toronto 104 Upfest 174 Barcelona 20 Traffic Design Festival 178 Berlin 26 Latin America 110 Artscape 182 Copenhagen 32 Buenos Aires 110 Grenoble Street Art Fest 186 Dublin 36 Mexico City 114 BLOOP 190 Kyiv 42 Sao Paulo 120 Nuart 194 Lisbon 46 Interview / Nunca 124 Interview / Martyn Reed 198 Interview / Vhils 52 Cash, Cans & Candy 200 London 54 Rest of the World 126 St+art Festival 204 Paris 58 Adelaide 126 HKwalls 208 Interview / Blek le Rat 64 Christchurch 130 MB6: Street Art 212 Reykjavík 66 George Town 136 PUBLIC 216 Rome 72 Istanbul 142 Johannesburg 146 Thanks 221 North America 78 Interview / Faith47 150 Index 222 Chicago 78 Melbourne 152 ‘It’s not the word “graffiti” that bothers me, it just doesn’t accurately explain the entire story.’ – Futura 2000 Foreword by Remi Rough I started painting walls in 1984. I the time, and it ignited a passion forming collectives and curating was sucked into hip-hop culture for painting bigger walls that still their own grandiose projects, and when it was at its most prominent excites me today. an increasing number of dedicated in Europe, and graffiti played a huge My focus began to shift from street art festivals were attracting part in the attraction. It began with traditional graffiti about 11 years ago artists and fans to interesting a boy at school bringing in a book when I started exploring abstraction locations around the world. I was called Subway Art, which had a much in art, and thinking about how once even flown out to the Gambian greater impact on me than anything I could take my work in a more jungle to paint mud huts for the Wide 4 I was learning in class. contemporary direction. At the Open Walls project. 5 The scene blossomed in London same time the landscape was also Fast-forward to today and it’s hard at the perfect time – Thatcherite changing dramatically – street art to find a city that doesn’t have some Britain was a mess. London was a was becoming ever more popular kind of organised mural programme. rough city to grow up in during the and specialist galleries started Purists might argue that street art early 1980s, but graffiti gave us a popping up all around the world, has all gone a bit ‘mainstream’, but it voice in much the same way it did bringing it indoors and into people’s has become an intrinsic part of the for the kids in the bankrupt and homes. The market for screen prints cultural fabric of our cities. Street art broken New York of the late 1970s. exploded and artists previously has added something very special Few people recognise that graffiti is known only for their street work to our urban landscapes, and books the only art movement in history were suddenly having sold-out such as this one only help to cement to be conceived and taken forward exhibitions, with hundreds of people the impact of the movement. essentially by kids. I am very proud cramming into each opening. I think As long as the artists and to be considered part of that legacy. most people knew that they were organisers continue to respect The first really big wall I painted witnessing the birth of an exciting their environments – and most was in West London in 1999 – a new scene. importantly the communities within commission piece for a computer That feeling was rubber-stamped them – the future of street art can games company. It was only three when the Tate Modern organised only get brighter. storeys high, but it felt ginormous, a major exhibition dedicated to and it remained in place for years street art in 2008 – things escalated Remi Rough, 2016 © Stephanie McMahon Stephanie © after. It was quite a feat for me at considerably after that. Artists began www.remirough.com Street Art Introduction Introduction by Ed Bartlett walls is thought to date back around produce limited editions of their street art, which can often mean around the world to experience still exploring, and still surprised and 40,000 years, it’s actually more work, and even tempted some meeting and watching the artists at street art today, and providing guides amazed by what I find. Researching surprising that street art has taken so ‘traditional’ artists and designers to work – a rare privilege among the to each city’s street-art hotspots to and compiling this book has opened long to flourish. engage with the streets. A raft of contemporary visual arts. enable you to explore further. We’ve my eyes to a number of exciting After the well-documented graffiti specialist galleries began to appear, It has been argued that street art is also included insights from some of destinations and artists, and I hope it boom of the 1980s, the advent of and a whole new generation of losing some of the grit and edge that its most important figures. inspires you in some way too. stencil art – as well as the widespread counterculture art collectors was characterised its formative years – Instagram, Flickr and Google My eternal gratitude goes to those proliferation of digital cameras, born. Banksy’s success – and the there are some, no doubt, who would Maps are incredibly powerful who have so graciously helped me 6 smartphones and social media – led growing ecosystem around him – point a cynical finger at the very supplemental tools to help you to with this project – it would have 7 to a new wave of artists consciously elevated street art to an entirely existence of this book as evidence. discover and locate works, and been much more difficult without the eschewing galleries in favour of the new level. And yes, perhaps more investigation many street artists are now active knowledge, passion and dedication streets. As the 20th century drew to Of course, one man does not needs to be done into the on social media. By uploading of all who participated – not least n preparation for writing this a close, street art was everywhere, make a movement. The street increasingly visible role that street and tagging the things you find the artists, without whom the world I introduction, I added up the and everyone was talking about it. art scene of today is flourishing art seems to play in gentrification. along the way, you too can play a would be a less colourful, interesting number of people living in the cities It’s impossible to discuss the rise thanks to a global cast of creative But we should also be careful not to valuable role in the community. But and inspiring place. In particular I featured in this book. The total came of street art without mentioning and highly motivated individuals, be overly critical of what is, after all, the real power of street art comes wanted to thank Lucy Langdon for her to over 150 million. That’s more than Banksy. His work – public, relevant many of whom are self-taught. This a comparatively young, developing from how it can pop into your day copyediting skills (and being a general twice the combined annual visitors and relatable, with a subversive collaborative DIY attitude is what art form. The majority of street unexpectedly, adding some colour, daily inspiration), Hector Campbell to the top 10 most visited museums edge – combined with the enduring makes street art’s growth – and its artists pride themselves on taking a smile or even a provocation – so for his tireless help with research and in the world, all potentially being mystery of his identity, captured growing cultural importance – all the an uncompromisingly conscientious keep your head up and don’t be image sourcing, and Remi Rough, for exposed to different forms of street the imagination of the mainstream more impressive and exciting. and independent stance with their afraid to explore! whom the word ‘no’ apparently doesn’t art on a daily basis. press in a way that the traditional Today, the proliferation of legal work, and there remains a strong As a teenager in the 1980s exist. And, of course, to you, for whom Surprised? This is just the tip of the art world rarely does. A growing walls and organised festivals underground scene. I grew up obsessed with hip-hop the art – and this book – has been iceberg. Street art is now present in army of highly engaged fans would around the world makes it possible With so much to see, it’s unrealistic and the New York graffiti scene. I created. I’d love to hear your feedback almost every city, town and village travel to see each new piece in to encounter thought-provoking, to expect to fully document such a was fortunate to move to London and personal recommendations. in the world, from Aachen to Zwolle. person as soon as it appeared, and transformative art in the most ubiquitous yet transient art form. in time to experience the initial Its true audience is measured in the trade in his prints and paintings unexpected of places. People are This book is intended as a starting street art explosion first-hand – as Ed Bartlett @edbartlett billions. And given that the first became frenzied. This, in turn, travelling to the four corners of point to your journey, highlighting bystander, photographer, collector The Future Tense record of homo sapiens painting on encouraged other street artists to the globe specifically to experience © Andy Ford a selection of some of the key cities and curator.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Vision Art Festival
    vision Art festivAl OPTICHROMIE (1500-2927) FLYBOY THE SECRET MOUNTAINS LE DAHU REFORM SWISS SHELTER Le Haut-Lieu de l’Art Contemporain des Alpes Felipe PANTONE Hebru BRANTLEY OKUDA Joshua KEEN VALENCIA REKA ONE 2ALAS Espagne USA Espagne USA Australie Costa Rica / Cuba 2015 2014 2015 2015 2015 2015 www.felipepantone.com 1 www.hebrubrantley.com 2 www.hebrubrantley.com 3 www.facebook.com/joshuakeenvalencia 4 www.instagram.com/rekaone 5 www.facebook.com/2alas 6 Le spectre de ses œuvres s’étend du graffiti à l’art kiné- Hebru Brantley est né en 1982 à Bronzeville, Chicago, Okuda San Miguel de Santander, est connu pour son Joshua Keen Valencia est basé à Los Angeles. Il a obtenu Son oeuvre est largement influencée par la culture pop, 2Alas, duo d’artistes portoricain et cubain, basé à Miami tique; elles sont marquées par de forts contrastes, des Hebru Brantley vit et travaille à Chicago, plus précisé- style distinct, impressions géométriques et bâtiments un B.A. en Art et son travail marie avec succès la jux- les bandes dessinées et les illustrations de son pays travaille aussi bien en galerie que dans la rue. 2Alas uti- couleurs vives et l’usage de techniques mixtes dont le ment dans le quartier où il est né, quartier afro-améri- multicolores qui se mêlent à des corps gris et des formes taposition de sujets totalement différents en utilisant des natal; ses muraux dont le style particulier est un mélange lise pinceaux et rouleaux et leur style est très particulier. savant mélange cherche à accrocher l’oeil du specta- cain situé au sud de la ville.
    [Show full text]
  • 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.
    [Show full text]
  • Writing the Future: Basquiat and the Hip-Hop Generation, Museum of Fine Arts, Boston, Panorama: Journal of the Association of Historians of American Art 7, No
    ISSN: 2471-6839 Cite this article: Peter R. Kalb, review of Writing the Future: Basquiat and the Hip-Hop Generation, Museum of Fine Arts, Boston, Panorama: Journal of the Association of Historians of American Art 7, no. 1 (Spring 2021), doi.org/10.24926/24716839.11870. Writing the Future: Basquiat and the Hip-Hop Generation Curated by: Liz Munsell, The Lorraine and Alan Bressler Curator of Contemporary Art, and Greg Tate Exhibition schedule: Museum of Fine Arts, Boston, October 18, 2020–July 25, 2021 Exhibition catalogue: Liz Munsell and Greg Tate, eds., Writing the Future: Basquiat and the Hip-Hop Generation, exh. cat. Boston: Museum of Fine Arts, Boston, 2020. 199 pp.; 134 color illus. Cloth: $50.00 (ISBN: 9780878468713) Reviewed by: Peter R. Kalb, Cynthia L. and Theodore S. Berenson Chair of Contemporary Art, Department of Fine Arts, Brandeis University It may be argued that no artist has carried more weight for the art world’s reckoning with racial politics than Jean-Michel Basquiat (1960–1988). In the 1980s and 1990s, his work was enlisted to reflect on the Black experience and art history; in the 2000 and 2010s his work diversified, often single-handedly, galleries, museums, and art history surveys. Writing the Future: Basquiat and the Hip-Hop Generation attempts to share in these tasks. Basquiat’s artwork first appeared in lower Manhattan in exhibitions that poet and critic Rene Ricard explained, “made us accustomed to looking at art in a group, so much so that an exhibit of an individual’s work seems almost antisocial.”1 The earliest efforts to historicize the East Village art world shared this spirit of sociability.
    [Show full text]
  • Cultural Tourism and Heritage in Northern Portugal
    Cultural Tourism and Heritage in Northern Portugal Cultural Tourism and Heritage in Northern Portugal Edited by Clara Sarmento and Sara Cerqueira Pascoal Cultural Tourism and Heritage in Northern Portugal Edited by Clara Sarmento and Sara Cerqueira Pascoal This book first published 2020 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2020 by Clara Sarmento, Sara Cerqueira Pascoal and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-5449-X ISBN (13): 978-1-5275-5449-8 TABLE OF CONTENTS List of Illustrations ................................................................................... vii Introduction ............................................................................................... ix Part I. Cultural Routes on the City’s Walls Chapter One ................................................................................................ 3 Public Space Appropriation: Between Art and Delinquency António Oliveira Chapter Two ............................................................................................. 19 Paths of Re-Existence in Multiple-Cities: Porto and Bahia Occupying (Other) Colours and Expressions
    [Show full text]
  • Street Art & Graffiti in Belgrade: Ecological Potentials?
    SAUC - Journal V6 - N2 Emergence of Studies Street Art & Graffiti in Belgrade: Ecological Potentials? Srđan Tunić STAW BLGRD - Street Art Walks Belgrade, Serbia srdjan.tunic@gmail.com, srdjantunic.wordpress.com Abstract Since the emergence of the global contemporary graffiti and street art, urban spaces have become filled with a variety of techniques and art pieces, whether as a beautification method, commemorative and community art, or even activism. Ecology has also been a small part of this, with growing concern over our environment’s health (as well as our own), disappearing living species and habitats, and trying to imagine a better, less destructive humankind (see: Arrieta, 2014). But, how can this art - based mostly on aerosol spray cans and thus not very eco-friendly - in urban spaces contribute to ecological awareness? Do nature, animal and plant motifs pave a way towards understanding the environment, or simply serve as aesthetic statements? This paper will examine these questions with the example of Belgrade, Serbia, and several local (but also global) practices. This text is based on ongoing research as part of Street Art Walks Belgrade project (STAW BLGRD) and interviews with a group of artists. Keywords: street art, graffiti, ecology, environmental art, belgrade 1. Introduction: Environmental art Art has always been connected to the natural world - with its Of course, sometimes clear distinctions are hard to make, origins using natural materials and representing the living but for the sake of explaining the basic principles, a good world. But somewhere in the 1960s in the USA and the UK, example between the terms and practices could be seen a new set of practices emerged, redefining environmental in the two illustrations below.
    [Show full text]
  • Notes on the Commodification of Street Art
    Work by Kaffeine in Melbourne Central shopping centre, 2012 Work by Dabs, Myla and Insa in Melbourne Central shopping centre, 2013 Notes on the commodification of street art CDH The energy which the individual expends in order to What have been the consequences in street art, as realise himself and extend into the world according to large tracts have been rapidly co-opted into mainstream his desires and dreams, is suddenly braked, held up, culture? shunted onto other tracks, recuperated. Raoul Vaneigem, Situationist International1 1. Populist iconography The expanding street art audience advances the Street art is commonly misconceived as a counter-culture, most populist motifs. As a low-brow culture, street art often but over the past decade it has been progressively co- rejects critical review, so it’s difficult to refute popular opted by popular culture to become the most mainstream opinion. For example, one of the most iconic street contemporary art practice. Situationist writers like Raoul artworks in Melbourne was Owen Dippie’s The Joker in Vaneigem describe this cultural appropriation as Hosier Lane. It’s one of the only artworks to have been ‘recuperation’; the mechanism by which radical ideas are repaired by council workers after being tagged. In a sense absorbed and defused into mass media culture. Today the work can be interpreted as an homage to the deceased street art aesthetics are used in advertising from cars to actor Heath Ledger, but it’s really just a facsimile of the tampons. It adorns shopping malls, whose very poster of the highest grossing film for 2008.
    [Show full text]
  • Lindsey Mancini Street Art's Conceptual Emergence
    30 NUART JOURNAL 2019 VOLUME 1 NUMBER 2 30–35 GRAFFITI AS GIFT: STREET ART’S CONCEPTUAL EMERGENCE Lindsey Mancini Yale School of Art Drawing primarily on contemporary public discourse, this article aims to identify a divergence between graffiti and street art, and to establish street art as an independent art movement, the examples of which can be identified by an artist’s desire to create a work that offers value – a metric each viewer is invited to assess for themselves. While graffiti and street art are by no means mutually exclusive, street art fuses graffiti’s subversive reclamation of space with populist political leanings and the art historically- informed theoretical frameworks established by the Situationists and Dadaism. Based on two founding principles: community and ephemerality, street art is an attempt to create a space for visual expression outside of existing power structures, weaving it into the fabric of people’s daily lives. GRAFFITI AS GIFT 31 AN INTRODUCTION (AND DISCLAIMER) Hagia Sophia in Turkey; Napoleon's troops have been Attempting to define any aspect of street art or graffiti described as defacing the Sphinx in the eighteenth century; may seem an exercise in futility – for, as is the case with and during World War II, cartoons featuring a long-nosed most contemporary cultural contexts, how can we assess character alongside the words ‘Kilroy was here’, began something that is happening contemporaneously and appearing wherever U.S. servicemen were stationed (Ross, constantly evolving? – but the imperative to understand 2016: 480). In the eighteenth century, English poet Lord what is arguably the most pervasive art movement of the Byron engraved his name into the ancient Greek temple to twenty-first century outweighs the pitfalls of writing Poseidon on Cape Sounion – a mark now described as ‘a something in perpetual danger of becoming outdated.
    [Show full text]
  • St+Art-India-Brief-Combined-Festivals
    ST+ART INDIA FOUNDATION is a not-for-profit organisation that works on art projects in public spaces. The aim of the foundation is to make art accessible to a wider audience by taking it out of the conventional gallery space and embedding it within the cities we live in - making art truly democratic for everyone. In the past 3 years, the foundation has hosted 6 St+art festivals across 4 cities, creating iconic landmarks across India. years cities festivals artists walls HENDRIK ECB (GERMANY) & ANPU (INDIA) • ITO BUILDING In a first of a kind engagement between a government body and street art, German artist Hendrik ECB Beikirch and Indian artist Anpu painted the tallest mural of India - 158 feet. This mural is located at the Police Headquarters in ITO, connecting thousands of citizens who get to view this iconic artwork on a daily basis. HAND PAINTED TYPE MURAL BY INDIAN SIGN PAINTERS • TIHAR JAIL Tihar Jail is the largest prison complex in Asia, with over 11,000 prisoners. India’s longest mural - 968 metres - was painted on the boundary wall of Tihar Jail with the help of several sign painters from India, who spent a fortnight painting verses of a poem: Chardiwari - written by one of the women inmates. STREET ART FESTIVAL • MUMBAI • NOV 2014 - DEC 2014 On 7th of November 2014 ,Anpu (Ind) and Tika (Swi) began work on the first wall of the festival at Pali Village in Bandra. BOND (GERMANY) • PALI VILLAGE, BANDRA TIKA (SWITZERLAND)• NEW FRIENDS COLONY, BANDRA MTNL BUILDING (BEFORE) • BANDRA RANJIT DAHIYA (INDIA) • MTNL, BANDRA A tribute to the forgotten legend of Bollywood, Dadasaheb Phalke, considered as the father of Indian Cinema.
    [Show full text]
  • FUTURA2000 (Born Leonard Hilton Mcgurr in New York City) Is a Graffiti Pioneer Who Began Painting Subways in the Late 1970S
    FUTURA2000 (born Leonard Hilton McGurr in New York City) is a graffiti pioneer who began painting subways in the late 1970s. In 1980 he painted the iconic whole car titled “Break,” which was recognized for its abstraction, rather than a focus on lettering. This painting established some of the enduring aesthetic motifs and approaches FUTURA2000 would explore over the decades that followed. FUTURA2000 was among the first graffiti artists to be shown in contemporary art galleries in the early 1980s. His paintings were shown at Patti Astor’s Fun Gallery and Tony Shafrazi, alongside those of his friends Keith Haring, Jean-Michel Basquiat, Rammellzee, DONDI, and Kenny Scharf. MoMA PS1 brought the artists together in their landmark 1981 exhibition, “New York / New Wave.” In this period, FUTURA2000 illustrated the sleeve cover for The Clash’s ‘This is Radio Clash’ seven-inch single. He accompanied The Clash on their Combat Rock tour, spray painting in the background while the band played. He painted as an accompaniment to demonstrations of break dance by the Rock Steady Crew, and concerts by Grand Master Flash and Afrika Bombataa. With the Clash, he recorded the vinyl “The Escapades of Futura 2000,” a manifesto for graffiti. By the 1990s, as the commercialization of global street culture in the 1990s inspired collaborations with fashion and lifestyle brands, FUTURA2000’s work moved toward a more refined expression of his abstract style. Commissions from brands such as Supreme, A Bathing Ape, Stüssy, and Mo' Wax saw his artwork canonized as an elemental component of cross-genre street aesthetic. He has collaborated with Nike, BMW, Comme des Garçons, Louis Vuitton, and Off-White.
    [Show full text]
  • Deal Signed by Jagger& Richard •••Mathews Runs Date* CBS France Records Go Behind Iron Curtain
    Senator Dirksen: Artist With A Bullet • • • Wolpin Exits Famous Jan. 1 • • Bell To Handle New Greene- Stone Labels* $1 Mil Writer Deal Signed By Jagger& Richard •••Mathews Runs Date* CBS France Records Go Behind Iron Curtain Int'l Section FRONT COVER: AND ALONG CAME THE ASSOCIATION Begins Pg. 55 p All the dimensions of a#l smash! *smm 1 4-439071 P&ul Revere am The THE single of '66 B THE SPIRIT OP *67 from this brand PAUL REVERE tiIe RAIDERS INCLUDING: HUNGRY THE GREAT AIRPLANE new album— STRIKE GOOD THING LOUISE 1001 ARABIAN NIGHTS CL2595/CS9395 (Stereo) Where the good things are. On COLUMBIA RECORDS ® "COLUMBIA ^MAPCAS REG PRINTED IN U SA GashBim Cash Bock Vol. XXVIII—Number 22 December 17, 1966 (Publication Office) 1780 Broadway New York, N. Y. 10019 (Phone: JUdson 6-2640) CABLE ADDRESS: CASHBOX, N. Y. JOE ORLECK Chairman of the Board GEORGE ALBERT President and Publisher NORMAN ORLECK Executive Vice President MARTY OSTROW Vice President LEON SCHUSTER Disk Industry—1966 Treasurer IRV LICHTMAN Editor in Chief EDITORIAL TOM McENTEE Associate Editor RICK BOLSOM ALLAN DALE EDITORIAL ASSISTANTS MIKE MARTUCCI JERRY ORLECK BERNIE BLAKE The past few issues of Cash Box Speaking of deals, 1966 was marked Director Advertising of have told the major story of 1966. by a continuing merger of various in- ^CCOUNT EXECUTIVES While there were other developments dustry factors, not merely on a hori- STAN SO I PER BILL STUPER of considerable importance when the zontal level (label purchases of labels), Hollywood HARVEY GELLER, long-range view is taken into account, but vertical as well (ABC's purchase of ED ADLUM the record business is still a business a wholesaler, New Deal).
    [Show full text]
  • Parallel Tracks: Three Case Studies of the Relationship Between Street Art and U.S. Museums in the Twenty-First Century
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 11-2-2018 Parallel Tracks: Three Case Studies of the Relationship between Street Art and U.S. Museums in the Twenty-First Century Erin Rolfs Louisiana State University and Agricultural and Mechanical College, erolfs@lsu.edu Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Art Practice Commons, Museum Studies Commons, and the Urban, Community and Regional Planning Commons Recommended Citation Rolfs, Erin, "Parallel Tracks: Three Case Studies of the Relationship between Street Art and U.S. Museums in the Twenty-First Century" (2018). LSU Master's Theses. 4835. https://digitalcommons.lsu.edu/gradschool_theses/4835 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact gradetd@lsu.edu. Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 11-2-2018 Parallel Tracks: Three Case Studies of the Relationship between Street Art and U.S. Museums in the Twenty-First Century Erin Rolfs Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Art Practice Commons, Museum Studies Commons, and the Urban, Community and Regional Planning Commons PARALLEL TRACKS THREE CASE STUDIES OF THE RELATIONSHIP BETWEEN STREET ART AND U.S. MUSEUMS IN THE TWENTY-FIRST CENTURY A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Erin Rolfs B.A., Louisiana State University, 2006 December 2018 Table of Contents Abstract ................................................................................................................................................................
    [Show full text]