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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. -
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. -
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. -
Prohm in Transferts, Appropriations Et Fonctions De L’Avant-Garde Dans L’Europe Intermédiaire Et Du Nord Ed
AUCUN RETOUR POSSIBLE – AN EVENT LOGIC OF THE AVANT-GARDE Alan Prohm in Transferts, appropriations et fonctions de l’avant-garde dans l’Europe intermédiaire et du Nord ed. Harri Veivo Cahiers de la Nouvelle Europe No. 16 2012 Kunst und Kamp, poster, April, 1986 Inherent in the notion of an avant-garde is the irreversibility of its measure of progress. The vector of a cultural effort need be neither straight nor singular nor without setbacks for this to be asserted: to occupy a position that has been surpassed is to not be avant-garde. It is stunning the degree to which this logic is disregarded by fans. Art historians can hardly be faulted for keeping warm the corpses of their favorite moments. It is a mortuary profession, and for many sufficiently well paid to keep up their confidence that scholars are anyway smarter than the artists they study; “We’ll be the judge of what’s dead and when.” More charitably, taking scholars as journalists, there are new sightings of the avant-garde to report every day, so we should expect the glorified blogging of peer-review journals on the topic to continue. And here, too, there is no foul. What approaches the kind of tragedy worth regretting, however, is that so many people of such lively genius should suffer their intellectual enthusiasms to be diverted, and secured off the track of any real cultural agency. The main veins of avant-garde activity in the European sphere, the now canonical cycle Futurism-Dada- Surrealism-Etcetera, gambled art and literature’s stakes in the centuries-old entitlement for a new chance at impacting the human situation. -
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. -
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. -
RON ENGLISH New York, NY 10014
82 Gansevoort Street RON ENGLISH New York, NY 10014 p (212) 966 - 6675 Born 1959 in Decatur, IL allouchegallery.com Based in Beacon, NY University of North Texas; University of Texas, Austin SELECTED SOLO EXHIBITIONS 2019 Ron English at Art Wynwood, Eternity Gallery, Miami 2018 Ron English: Universal Grin, Galerie Matthew Namour, Montréal 2018 Delusionville, Allouche Gallery, New York, NY 2017 Toybox, Corey Helford Gallery, Los Angeles, CA 2016 Guernica, Allouche Gallery, New York, NY 2016 Popaganda NYC Pop-Up!, Redbird NYC, New York, NY 2016 Dorothy Circus Gallery, Rome, Italy 2015 NeoNature, Corey Helford Gallery, Culver City, CA 2015 EVOLUTIONARY ALTERNATIVES, Tribeca Grand Hotel, New York, NY 2014 Ron English, From Studio to Street, Caixa Cultural, Rio de Janeiro, Brazil 2014 Death and the Eternal Forever, Atomica Gallery, London, United Kingdom 2014 Brandit-Popmart, University of North Texas, Denton, TX 2012 Family Tradition, MINDstyle, Los Angeles, CA 2012 Crucial Fiction, Opera Gallery, New York, NY 2011 Last Supper in South Park, Opera Gallery, New York, NY 2011 Seasons in Superbia, Corey Helford Gallery, Los Angeles, CA 2011 Dim Dum Dolls, Dream in Plastic, New York, NY 2011 Skin Deep, Lazarides Rathbone, London, United Kingdom 2009 The Don Gallery, Milan, Italy 2009 MACRO Future, Museo d’Arte Contemporanea, Rome, Italy 2009 Immortal Underground, Opera Gallery, New York, NY 2008 Shooting Gallery, San Francisco, CA 2006 Robert Berman Gallery, Santa Monica, CA 2005 Varnish Fine Art, San Francisco, CA 2003 Robert Berman Gallery, Santa Monica, CA 2002 Minna Gallery, San Francisco, CA SELECTED GROUP EXHIBITIONS 2019 Here’s looking at you: modern and contemporary portraiture to fall in love with, Artsnap 2019 Street Art Collection, Artsnap 2019 Statement Piece: Recent Acquisitions and Consignments, The Missing Plinth 2019 Lucky 13 Anniversary Show, Pt. -
PRESERVATION of STREET ART in PARIS. an EXAMPLE for RIGA? Quentin-En-Yvelines, Fra Latvian Academy of Cult
Mg.sc.soc. Valērija Želve Alumna, Université de Versailles Saint- Quentin-en-Yvelines, France, Latvian Academy of Culture PRESERVATION OF STREET ART IN PARIS. AN EXAMPLE FOR RIGA? Mg. sc. soc. Valērija Želve Alumna, Université de Versailles Saint-Quentin-en-Yvelines, France, Latvian Academy of Culture Abstract In many cities graffiti and street art is considered as vandalism and is often connected with crime. However, in some cities majority of the population does not agree with such a statement. They see street art and graffiti as decoration of the city. They think the artists deserve a safe space for expressing themselves. It is already a little step towards preserving the street art movement, as, of course, not all the citizens will share this opinion, since place of street art is still a very arguable question in many cities around the world. More and more organisations, associations and projects of different types are being created to promote and protect the urban art. Promotion of street art can be expressed in different ways, for example, panel discussions and workshops, exhibitions and festivals. Several street art and graffiti related spaces are being opened in Paris. Museums, warehouses, walls, schools – every kind of space could be used as a platform for the artists. This is also a nice way to show to the city council how important this culture is to the citizens of Paris. At the same time Riga cannot be yet proud of a thriving street art and graffiti culture. But what if Riga actually took Paris as an example? Could similar organisations in Latvia improve the society’s attitude towards urban cultures? Could the safe platform for street art be a solution for its popularization in Riga? The aim of this paper is to introduce organisations which promote and protect street art and graffiti in Paris and to evaluate if street art positions in Paris could actually be an example for Riga. -
Together in Distance
Press Release Poster Design: Lynn Hai Together in Distance An Online Benefit Auction for COVID-19 Relief July 8–July 20, 2020 Auction Website: https://www.artspace.com/auctions/n95fornyc-benefit-auction-2020? preview=5d4ae52bce951d789e1b7f862bfdf9c7 “On this earth there are pestilences and there are victims, and it's up to us, so far as possible, not to join forces with the pestilences.” “A loveless world is a dead world.” ― Albert Camus, The Plague Ever since the beginning of 2020, our longstanding belief in the peacefulness of daily life has been shattered as the unprecedented COVID-19 pandemic attacks the whole world. In May, the Press Release George Floyd Protests as part of the Black Lives Matter Movement began in Minneapolis and soon spread over not only the entire United States but across the globe. During the pandemic and the protests, more and more people have united to confront both the virus and systemic inequality. Battling natural disasters and human injustice is not heroism. It is “a matter of common decency” (Camus, 1947) that everyone should maintain. Besides supporting peaceful protests while keeping social distance, what extra efforts can we take as art professionals to help people who have been suffering? Art has always been powerful and educational for the public. Even now, when physical access to art is extremely limited, creative insights, reflections and manifestos are not constrained. On the contrary, this is a time that motivates artists to recapitulate aspects of their work and move toward new breakthroughs. It is our responsibility to struggle and explore, to look for an outlet for our anxieties or a solution to the newly disrupted reality of life, and to respond to the upheavals that have happened or are about to happen. -
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 [email protected], 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. -
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. -
When the Wall Talks: a Semiotics Analysis of Graffiti Tagged by “Act Move”
When The Wall Talks: A Semiotics Analysis of Graffiti Tagged by “Act Move” A Journal Paper Hasan IbnuSafruddin (0707848) English Education Department, Faculty of Language and Arts Education, Indonesia University of Education, Dr. Setiabudhi 229, Bandung 40154, Indonesia Email: [email protected] Abstract: In Indonesia Graffiti phenomenon has become a popular culture. Graffiti exists around us; in public space, wall, and toilet.Its existence sometime lasts just a few days then beingerased, but some other exists for a long time. Some people think graffiti is a kind of vandalism, some other think it is a piece of art. That makes the graffiti interesting to me. The author believe there must be a purpose and meaning in creating graffiti. Bandung city is popular as the place of creative people; there are many communities of Bomber, graffiti creator called.The author choose some graffiti tagged by Act Move around Bandung as the sample for my analysis. Different with other graffiti, Act Move more applies more the words form rather than pictures. In this paper the author would like to analyze five graffiti tagged by Act Move around Bandung city through the Roland Barthes framework. Barthes‟ Frame work isapplied to find out the meaning of graffiti. After doing descriptive analysis of the graffiti the author also do an interview with the Bomber of Act Move to enrich the data and make the clear understanding of this study. The finding of this study is the meaning of denotation, connotation and myth or ideology of the graffiti. The author expect this study can give the exploration and interpretation the meaning beyond and surface of graffiti.