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Bilan Grenoble Street Art Fest 2017
Spacejunk Art Center présente Grenoble Street Art Fest ! 2017 BILAN Spacejunk Art Center Ancien Musée de Peinture Hyper Centre Quartier Championnet Quartier Berriat Villeneuve Fontaine Campus Saint Martin d’Hères // TItreSOMMAIRE INTRODUCTION ......................................................................................... P. 3 LA TROISIÈME ÉDITION EN QUELQUES CHIFFRES............................. P. 4 VISUEL DU FESTIVAL 2017 ..................................................................... P. 10 BILAN FINANCIER ....................................................................................... P. 11 EXPANSION DU PROJET .......................................................................... P. 12 ARTISTES PARTICIPANTS ......................................................................... P. 15 RETOMBÉES MÉDIAS ................................................................................. P. 66 STRET ART MOVIE FEST ................................... ........................................ P. 70 SOIRÉE INAUGURALE ................................................................................ P. 74 VALORISATION DU PATRIMOINE ............................................................... P. 77 CONFÉRENCES ............................................................................................ P. 78 EXPOSITIONS ............................................................................................... P. 79 L’ÉQUIPE DU GRENOBLE STREET ART FEST ............................................. P. 83 MÉDIATION -
Whose Art Is It? - the New Yorker 2/8/16, 11:06 AM
Whose Art Is It? - The New Yorker 2/8/16, 11:06 AM Save paper and follow @newyorker on Twitter In the South Bronx DECEMBER 21, 1992 ISSUE Whose Art Is It? BY JANE KRAMER t could be argued that the South Bronx John Ahearn PHOTOGRAPH BY DUANE bronzes fit right into the neighborhood MICHALS —that whatever a couple of people said about bad role models and negative Iimages and political incorrectness, there was something seemly and humane, and even, in a rueful, complicated way, “correct,” about casting Raymond and his pit bull, Daleesha and her roller skates, and Corey and his boom box and basketball in the metal of Ghiberti, Donatello, and Rodin and putting them up on pedestals, like patron saints of Jerome Avenue. John Ahearn, who made the statues, says that he thought of them more as guardians than as saints, because their job was ambiguous, standing, as they did for a couple of days last year, between the http://www.newyorker.com/magazine/1992/12/21/whose-art-is-it Page 1 of 47 Whose Art Is It? - The New Yorker 2/8/16, 11:06 AM drab new station house of the city’s 44th Police Precinct and what is arguably one of its poorest, saddest, shabbiest, most drug-infested, AIDS-infected, violent neighborhoods. John himself is ambiguous about “ambiguous.” He says that when the city asked him to “decorate” the precinct he thought of the Paseo de la Reforma, in Mexico City, with its bronze heroes—a mile of heroes. He thought that maybe it would be interesting—or at least accurate to life on a calamitous South Bronx street, a street of survivors—to commemorate a few of the people he knew who were having trouble surviving the street, even if they were trouble themselves. -
Feature Article} {Profile}
{PROFILE} {PROFILE} {FEATURE ARTICLE} {PROFILE} 28 {OUTLINE} ISSUE 4, 2013 Photo Credit: Sharon Givoni {FEATURE ARTICLE} Street Art: Another Brick in the Copyright Wall “A visual conversation between many voices”, street art is “colourful, raw, witty” 1 and thought-provoking... however perhaps most importantly, a potential new source of income for illustrators. Here, Melbourne-based copyright lawyer, Sharon Givoni, considers how the laws relating to street art may be relevant to illustrators. She tries to make you “street smart” in an environment where increasingly such creations are not only tolerated, but even celebrated. 1 Street Art Melbourne, Lou Chamberlin, Explore Australia Publishing Pty Ltd, 2013, Comments made on the back cover. It canvasses: 1. copyright issues; 2. moral rights laws; and 3. the conflict between intellectual property and real property. Why this topic? One only needs to drive down the streets of Melbourne to realise that urban art is so ubiquitous that the city has been unofficially dubbed the stencil graffiti capital. Street art has rapidly gained momentum as an art form in its own right. So much so that Melbourne-based street artist Luke Cornish (aka E.L.K.) was an Archibald finalist in 2012 with his street art inspired stencilled portrait.1 The work, according to Bonham’s Auction House, was recently sold at auction for AUD $34,160.00.2 Stencil seen in the London suburb of Shoreditch. Photo Credit: Chris Scott Artist: Unknown It is therefore becoming increasingly important that illustra- tors working within the street art scene understand how the law (particularly copyright law) may apply. -
Talking Chalk: Defacing the First Amendment in the Public Forum
TALKING CHALK: DEFACING THE FIRST AMENDMENT IN THE PUBLIC FORUM Marie A. Failinger* I. INTRODUCTION ...................................................................................... 755 II. CHALKING AS A CONTENT DILEMMA ................................................... 759 III. THE PROBLEM OF ANALOGY: IS CHALKING REAL GRAFFITI? .............. 764 IV. CONCLUSION ......................................................................................... 773 I. INTRODUCTION The common law lives on analogy—its power to change depends on whether the creative new things individuals do every day that get them into trouble can be correctly assimilated to conduct that has previously been ruled legal or illegal, determined to be the subject of damages, or protected as part of individual liberty. We might find this dilemma captured in the famous Sesame Street ditty that goes, “One of these things is not like the others, one of these things just doesn’t belong . .”1 Since the Supreme Court’s development of ever-more nuanced versions of the public forum doctrine, starting with cases such as Perry Education Association v. Perry Local Educators’ Association,2 among other refinements of its Speech Clause jurisprudence,3 much free speech jurisprudence has taken on a common law caste, one analogy after another. Because the Supreme Court has provided more robust protection for free speech rights in “public forums,” like streets, parks, and sidewalks, the courts must parse possible analogies to determine whether a sidewalk leading up to a * Professor of Law, Hamline University School of Law. 1 JOE RAPOSO & JON STONE, ONE OF THESE THINGS (IS NOT LIKE THE OTHERS) (Columbia 1970), available at http://members.tripod.com/tiny_dancer/one.html. The Sesame Street analogical process has been cited by more than one legal academic explaining a basic tool of legal analysis. -
Arts & Culture
An Invitation to All Bowen Islanders Advancing ARTS & CULTURE on Bowen Island 2017 - 2027 Cultural Master Plan TABLE OF CONTENTS Executive Summary ................................................. 3 A. Introduction ......................................................... 13 B. Our Guiding Principles ....................................... 20 C. What is Bowen’s Culture? .................................. 21 D. Goals, Strategies and Actions............................ 27 E. Plan Evaluation & Review ................................... 58 F. BOWEN 2025: A Thriving Arts-and-Culture Driven Community ..................... 59 Appendix I Status Of 2004 Cultural Plan Recommendations Appendix II Successes And New Challenges Identified Appendix III BIAC Core Programs/Budget Appendix IV Arts & Cultural Survey Highlights Appendix V Groups Consulted in Developing This Plan Appendix VI Interview Questions Appendix VII 78 Communications & Publicity Appendix VIII List of Research Documents DRAFTAppendix IX List of Abbreviations Appendix X Links to 2004 Cultural Plan, Terms of Reference and Other Documents Appendix XI Master Plan Budget Page 2 Bowen Island Cultural Plan “Bowen is a place where people can become who they want to be.” – Andrea Verwey EXECUTIVE SUMMARY Introduction Why does Bowen Island need a Cultural “Master” Plan? Culture and art happen, planned or not. The motivation for developing a vision and goals along with a strategy to achieve those goals flows from the growing recognition and acknowledgment that arts are integral to our human existence. Culture engages minds, enriches the education of children, and supports lifelong learning. Culture helps define the character or identity of a community in which people feel a sense of belonging. It engages citizens in activities that help build a sense of community, resilience, and civic engagement. Finally, as the community grows, culture celebrates diversity and helps newcomers feel welcome. -
Saccharomyces Cerevisiae
Novel strategies for engineering redox metabolism in Saccharomyces cerevisiae Víctor Gabriel Guadalupe Medina 2013 Novel strategies for engineering redox metabolism in Saccharomyces cerevisiae Proefschrift ter verkrijging van de graad van doctor aan de Technische Universiteit Delft, op gezag van de Rector Magnificus prof. ir. K.Ch.A.M. Luyben, voorzitter van het College voor Promoties, in het openbaar te verdedigen op maandag 14 oktober 2013 om 15:00 uur door Víctor Gabriel GUADALUPE MEDINA Magíster en Ciencias de la Ingeniería, Pontificia Universidad Católica de Chile, geboren te Rancagua, Chili. Dit proefschrift is goedgekeurd door de promotor: Prof. dr. J.T. Pronk Copromotor: Dr. ir. A.J.A. van Maris Samenstelling promotiecommissie: Rector Magnificus, voorzitter Prof. dr. J.T. Pronk, Technische Universiteit Delft, promotor Dr. ir. A.J.A. van Maris, Technische Universiteit Delft, copromotor Prof. dr. J.G. Kuenen, Technische Universiteit Delft Prof. dr. R.A.L. Bovenberg, Rijksuniversiteit Groningen / DSM Prof. dr. B.M. Bakker, Rijksuniversiteit Groningen Prof. dr. J. Förster, Technical University of Denmark / Novo Nordisk Foundation Center for Biosustainability Dr. R.A. Weusthuis, Wageningen University Prof. dr. M.C.M. van Loosdrecht, Technische Universiteit Delft, reservelid The studies presented in this thesis were performed at the Industrial Microbiology section, Department of Biotechnology, Delft University of Technology, The Netherlands and part of Program 1 ‘Yeast for chemicals, fuels and chemicals’ of the Kluyver Centre for Genomics of Industrial Fermentation, which is supported by the Netherlands Genomics Initiative. The cover of this thesis was designed by Manuel Toledo Otaegui (www.toledotaegui.com). The photograph was kindly provided by Michael Grab, rock balancing artist (www.gravityglue.com). -
What Role Can Museums Play in Street Art and Graffiti? Hannah
ABSTRACT The Permanent Impermanence Project: What Role Can Museums Play in Street Art and Graffiti? Hannah Quinn Director: Dr. Julie Holcomb Street art and graffiti in the public conscience is a topic that is often left out of academic journals. The need to find a way to preserve this art form is the key concept at the heart of this project. While online documentation plays a significant role in this process, I am primarily interested in the possible role of the museum in the preservation process. Even though I am advocating museum involvement in the world of street art and graffiti, I am in no way suggesting that the process is as simple as taking the work off of the streets and putting it into a “sterile, disinfected gallery or a restrictive museum.” The context of this art form is as important as the actual content. That being said, museum professionals have certain skills and backgrounds that can help the street art and graffiti community grow and further connect with the culture and environment around them. To do this though will require a rethinking of what it means to be a museum. APPROVED BY DIRECTOR OF HONORS THESIS: ______________________________________ Dr. Julie Holcomb, Department of Museum Studies APPROVED BY THE HONORS PROGRAM: ______________________________________ Dr. Andrew Wisely, Director DATE: ________________________ THE PERMANENT IMPERMANENCE PROJECT: WHAT ROLE CAN MUSEUMS PLAY IN STREET ART AND GRAFFITI? A Thesis Submitted to the Faculty of Baylor University In Partial Fulfillment of the Requirements for the Honors Program By Hannah Quinn Waco, Texas May 2015 TABLE OF CONTENTS List of Figures . -
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. -
Of the Human Rights Situation of Lesbian, Gay, Bisexual, Trans and Intersex People in Europe and Central Asia
OF THE HUMAN RIGHTS SITUATION OF LESBIAN, GAY, BISEXUAL, TRANS AND INTERSEX PEOPLE IN EUROPE AND CENTRAL ASIA FIND THIS REPORT ONLINE: WWW.ILGA-EUROPE.ORG THIS REVIEW COVERS THE PERIOD OF JANUARY TO DECEMBER 2019. Rue du Trône/Troonstraat 60 Brussels B-1050 Belgium Tel.: +32 2 609 54 10 Fax: + 32 2 609 54 19 [email protected] www.ilga-europe.org Design & layout: Maque Studio, www.maque.it ISBN 978-92-95066-11-3 FIND THIS REPORT ONLINE: WWW.ILGA-EUROPE.ORG Co-funded by the Rights Equality and Citizenship (REC) programme 2014-2020 of the European Union This publication has been produced with the financial support of the Rights Equality and Citizenship (REC) programme 2014-2020 of the European Union. The contents of this publication are the sole responsibility of ILGA-Europe and can in no way be taken to reflect the views of the European Commission. ANNUAL REVIEW OF THE HUMAN RIGHTS SITUATION OF LESBIAN, GAY, BISEXUAL, TRANS, AND INTERSEX PEOPLE COVERING THE PERIOD OF JANUARY TO DECEMBER 2019 TABLE OF CONTENTS ACKNOWLEDGEMENTS KAZAKHSTAN INTRODUCTION KOSOVO* A NOTE ON DATA COLLECTION AND PRESENTATION KYRGYZSTAN HIGHLIGHTS, KEY DEVELOPMENTS AND TRENDS LATVIA INSTITUTIONAL REVIEWS LIECHTENSTEIN LITHUANIA EUROPEAN UNION LUXEMBOURG UNITED NATIONS MALTA COUNCIL OF EUROPE MOLDOVA ORGANISATION FOR SECURITY AND COOPERATION IN EUROPE MONACO MONTENEGRO COUNTRY REVIEWS NETHERLANDS ALBANIA NORTH MACEDONIA ANDORRA NORWAY A ARMENIA POLAND AUSTRIA PORTUGAL AZERBAIJAN ROMANIA BELARUS RUSSIA BELGIUM SAN MARINO BOSNIA AND HERZEGOVINA SERBIA BULGARIA SLOVAKIA -
Pixaçāo: the Criminalization and Commodification of Subcultural Struggle in Urban Brazil
Kent Academic Repository Full text document (pdf) Citation for published version Gil Larruscahim, Paula (2018) Pixação: the criminalization and commodification of subcultural struggle in urban Brazil. Doctor of Philosophy (PhD) thesis, University of Kent,. DOI Link to record in KAR https://kar.kent.ac.uk/70308/ Document Version Publisher pdf Copyright & reuse Content in the Kent Academic Repository is made available for research purposes. Unless otherwise stated all content is protected by copyright and in the absence of an open licence (eg Creative Commons), permissions for further reuse of content should be sought from the publisher, author or other copyright holder. Versions of research The version in the Kent Academic Repository may differ from the final published version. Users are advised to check http://kar.kent.ac.uk for the status of the paper. Users should always cite the published version of record. Enquiries For any further enquiries regarding the licence status of this document, please contact: [email protected] If you believe this document infringes copyright then please contact the KAR admin team with the take-down information provided at http://kar.kent.ac.uk/contact.html PIXAÇĀO: THE CRIMINALIZATION AND COMMODIFICATION OF SUBCULTURAL STRUGGLE IN URBAN BRAZIL By Paula Gil Larruscahim Word Count: 83023 Date of Submission: 07 March 2018 Thesis submitted to the University of Kent and Utrecht University in partial fulfillment for requirements for the degree of Doctor of Philosophy after following the Erasmus Mundus Doctoral Programme in Cultural and Global Criminology. University of Kent, School of Sociology, Social Policy and Social Research Utrecht University, Willem Pompe Institute for Criminal Law and Criminology 1 Statement of Supervision Acknowledgments This research was co-supervised by Prof. -
Panel Pool 2
FY18-19 PEER REVIEW PANELS Panel Applicants (November deadline) This list contains potential panelists to be added to the pool for peer review panels. Approved panelists may be called upon to serve on grant panels in FY2018-2019 or FY2019-2020. Click a letter below to view biographies from applicants with corresponding last name. A .............................................................................................................................................................................. 2 B ............................................................................................................................................................................... 9 C ............................................................................................................................................................................. 18 D ............................................................................................................................................................................. 31 E ............................................................................................................................................................................. 40 F ............................................................................................................................................................................. 45 G ............................................................................................................................................................................ -
Heritage at Risk
H @ R 2008 –2010 ICOMOS W ICOMOS HERITAGE O RLD RLD AT RISK R EP O RT 2008RT –2010 –2010 HER ICOMOS WORLD REPORT 2008–2010 I TAGE AT AT TAGE ON MONUMENTS AND SITES IN DANGER Ris K INTERNATIONAL COUNciL ON MONUMENTS AND SiTES CONSEIL INTERNATIONAL DES MONUMENTS ET DES SiTES CONSEJO INTERNAciONAL DE MONUMENTOS Y SiTIOS мЕждународный совЕт по вопросам памятников и достопримЕчатЕльных мЕст HERITAGE AT RISK Patrimoine en Péril / Patrimonio en Peligro ICOMOS WORLD REPORT 2008–2010 ON MONUMENTS AND SITES IN DANGER ICOMOS rapport mondial 2008–2010 sur des monuments et des sites en péril ICOMOS informe mundial 2008–2010 sobre monumentos y sitios en peligro edited by Christoph Machat, Michael Petzet and John Ziesemer Published by hendrik Bäßler verlag · berlin Heritage at Risk edited by ICOMOS PRESIDENT: Gustavo Araoz SECRETARY GENERAL: Bénédicte Selfslagh TREASURER GENERAL: Philippe La Hausse de Lalouvière VICE PRESIDENTS: Kristal Buckley, Alfredo Conti, Guo Zhan Andrew Hall, Wilfried Lipp OFFICE: International Secretariat of ICOMOS 49 –51 rue de la Fédération, 75015 Paris – France Funded by the Federal Government Commissioner for Cultural Affairs and the Media upon a Decision of the German Bundestag EDITORIAL WORK: Christoph Machat, Michael Petzet, John Ziesemer The texts provided for this publication reflect the independent view of each committee and /or the different authors. Photo credits can be found in the captions, otherwise the pictures were provided by the various committees, authors or individual members of ICOMOS. Front and Back Covers: Cambodia, Temple of Preah Vihear (photo: Michael Petzet) Inside Front Cover: Pakistan, Upper Indus Valley, Buddha under the Tree of Enlightenment, Rock Art at Risk (photo: Harald Hauptmann) Inside Back Cover: Georgia, Tower house in Revaz Khojelani ( photo: Christoph Machat) © 2010 ICOMOS – published by hendrik Bäßler verlag · berlin ISBN 978-3-930388-65-3 CONTENTS Foreword by Francesco Bandarin, Assistant Director-General for Culture, UNESCO, Paris ..................................