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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. -
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. -
The Lady of Edgecliff
The Lady of Edgecliff Annie Peachman Faculty of Arts and Social Sciences, University of Technology Sydney Street art is a developing postmodern phenomenon with the profound capacity to challenge the cultural assumptions underpinning modernity and a modernist approach to art. Taking Bruno Dutot’s work, ‘The Lady of Edgecliff’, or ‘Oucha’ as a starting point, one can explore the cultural importance of street art, as it elucidates the contradictions inherent to contemporary society – which exists as a hybrid of both modernity and postmodernity. Postmodernism informs the way in which street art contests the prevalence of empiricism within modernity, which values technique over symbolic meaning and aesthetics. Street art simultaneously challenges the modernist notion of progress towards utopian ideals, often focusing more on dystopia and revisiting the past through the use of intertextuality, viewing the world as a simulacrum rather than as an absolute truth. In its total public accessibility, street art also challenges the notion of art as a commodity, as well as the modernist association of art with institutionalism, which positions the artist as a tradesperson, and the art world as a business. Yet with increasing numbers of acclaimed street artists shifting to exhibiting in galleries and accepting commissions for their work, the distinctions between postmodern and modern art are blurred. As such, street art reveals the enduring vestiges of modernity in contemporary culture, and thus questions how such ideas remain in conjunction with the ideas of postmodernism– suggesting that contemporary society is not unconditionally postmodern but instead exists as a hybridised culture, with interrelated and interdependent elements of both postmodernity and modernity central to our contemporary milieu. -
Graffiti De Oz Montanía, Fotografía De Xoan García Huguet
CUADERNOS SALAZAR #1 DISLOCACIONES CENTro CULTURAL DE ESPAÑA Juan DE SALAZAR Tacuary 745 y Herrera 834 CUADERNOS SALAZAR #1 Asunción (Paraguay) +59521449921 [email protected] DISLOCACIONES Dislocaciones www.juande salazar.org.py Tw: @ccejs_py Fb: CCEJS_AECID Paraguay Los cuadernos del Salazar se editan bajo licencia Creative Commons: Reconocimiento del autor Sin fines de lucro Sin obra derivada CUADERNOS SALAZAR #1 DISLOCACIONES EMBAJADA DE ESPAÑA Embajador—Diego Bermejo Romero de Terreros CENTRO CULTURAL DE ESPAÑA JUAN DE SALAZAR Directora—Eloísa Vaello Marco COLECCIÓN CUADERNOS SALAZAR #1 DISLOCACIONES Coordinación y edición—Ruth Osorio Cuidados de la edición y corrección—Toni García Diseño editorial—Alejandro Valdez, Ana Ayala, Paolo Herrera. Autores que colaboran en éste número —Azeta, Oz Montanía, Adriana Almada, Rosa Palazón, Vladimir Velázquez, Lía Colombino, Luís Caputo, Daniel Mittmann, Lorena Cabrera, Rafo Vera, Fros, Rocío Céspedes, Kast, Kleina Mc, Leda Sostoa, Legasy, Lonchi Romero, PrizPrazPruz, Mali, Lucas We, Eulo García, María Glausser, Saturn, Rafael Scorza, Walter Souza, Eddy Graff, Vidal González, Yana Vallejo, Eloísa Vaello Marco, Ruth Osorio. Agradecimientos a Patty Acuña, una de las fundadoras de la Casa de los Payasos, quien con su luz sigue irradiando, a Yamil Ríos, referente de la cultura hip hop, por el apoyo y colaboración y a Patricio Dobrée. Imagen de portada—Graffiti de Oz Montanía, Fotografía de Xoan García Huguet. Impreso en ARTE NUEVO 1.000 Ejemplares Asunción, 17 de octubre de 2013. A los soñadores -
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. -
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. -
Artillery 8 Ali Harrington Aiding and Abetting Student Artists MATTHEW BUCKINGHAM at the ST
BRANCUSI and SERRA A Very Serious Crowd 4 Nora Korsts Salzman BACK to the FUTURE? A Critical Look at the Blurred Line Between Education and Regurgitation 6 Anna Elise Johnson DIFFERENT STROKES Brett Cook-Dizney and Angelina Gualdoni are Different Folks ARTillery 8 Ali Harrington Aiding and Abetting Student Artists MATTHEW BUCKINGHAM at the ST. LOUIS ART MUSEUM SLAM’s Currents 94 Exhibit Intriguingly Sits On the Fence ARTillery is a student run, written, and read art magazine. Our pub- 12 Juan Tejedor lication is independent and self-funded, with the aim of promoting dialogue about art and our role as student artists. We will initiate dis- PAINTINGS at the CONTEMPORARY ART MUSEUM in ST. LOUIS course through artist interviews, show reviews, and artwork, while pro- 13 Three Painters, a Lot of Style, and Differing Degrees of Substance at CAMSTL viding services such as how-to articles, a calendar of cultural events in Juan Tejedor St. Louis, and the promotion of student art shows. We encourage our UNTITLED INSTALLATION readers to question purported truths about art and take an active role Anna Minx Plays With Paint, Beautifully in deciding what our art is and should be. 16 Christina Cosio SCULPTURE SHOW RE-REVIEW A Disgruntled Reader Takes Another Look Anna Elise Johnson - editor 17 Anonymous Kristyna Comer - associate editor Christina Cosio - copy editor RELOAD: FIRING BACK AT ARTILLERY Ali Harrington - feature writer 18 Our Readers Retort With Dissapointingly Friendly Fire Sarah Houle - feature writer Steve Kuppinger - advertising director -
First Friday Mural Tour Featuring 20X21eug Mural Project Artists
First Friday Mural Tour featuring 20x21EUG Mural Project artists Meet at us 5:30pm at West Broadway and Charnelton for the start of the guided tour, led by Paul Godin of 20x21EUG Mural Project. 1 Telmo Miel - Shaw-Med (198 W Broadway) 2 Beau Stanton - McDonald Theatre (1010 Willamette St) 3 Hyuro - KIVA (125 W 11th Ave) 4 Hush - Falling Sky Brewing House (1334 Oak Alley) 5 Blek le Rat - Level Up Arcade (1290 Oak St) 6 JAZ - McDonald Theatre (1010 Willamette St) 7 Blek le Rat - Actor’s Cabaret (996 Willamette St) Dan Witz - Actor’s Cabaret (996 Willamette St) 8 Acidum Project - Cowfish (62 W Broadway) ? Dan Witz - Various installations around Downtown Eugene Artist Biographies: Telmo Miel - Netherlands* Artistic duo Telmo Pieper and Miel Krutzmann, known as Telmo Miel, balance somewhere between surreal and realistic rendering with an immense attention to detail and vivid color. Beau Stanton - Brooklyn/USA Stanton lives in Brooklyn, N.Y. and draws his inspiration for his big-wall art from historic ornamentation, religious iconography, and classical painting. He does everything from large-scale installations to stained glass, mosaics, and multimedia animations. Hyuro - Spain/Argentina* Hyuro is best known for her surrealist and sometimes whimsical approach. Her work embodies a sense of eerie playfulness by blending thematic issues of politics, nature, and feminine identity. Hush - United Kingdom* Hush’s style draws upon elements of Japanese influence, including anime and geishas. His approach combines traditional artistic techniques and street art style, creating a dynamic blend of graphic elements and abstract pop. 20x21eug.com *A sample of the artist’s work, not a 20x21 mural Blek le Rat - France* Known as one of the Godfathers of Stencil Art, Blek le Rat’s work has served as inspiration for artists like Banksy and Space Invader. -
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. -
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). -
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, [email protected] 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 [email protected]. 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 ................................................................................................................................................................