Shadow Street Art: from walls to streets between projection and invention (original) (raw)
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During the last half-century art theoretical discussions has spent an increasing interest in the apparatus surrounding the Artwork as an object. It is an apparatus including subjects such as artists, critics, dealers, curators and collectors as well as organizations and places such as galleries, museums, magazines and art schools that together form a socio-economical space, generally referred to as the art world – or at times in plural – art worlds. With a few (and at times illustrious) exceptions graffiti and street art takes place outside of these spaces. The position on the outside is conceptual and institutional as well as spatial and social, something that might come as no surprise. Graffiti is usually done without any kind of formal institutional backup in the public spaces: the street, the subway car or along the train tracks. The object is many times illegally performed – and thus often ephemeral, painted over by either new works or buffed away in different types of maintenance programs. The situation could be seen as an outcome of one of the main artistic strategies within the field – the idea of an invisible artist only visible through his/her artwork: “…to be as cool, calm and collected about putting his art on the train as he can. You know, he wants to get in and get out without even being noticed, except for the work that's going to come out to the public, you know, that Monday” as one of the graffiti writers in the seminal documentary movie Stylewars put it. This is the strategy that one could call inopinatum. Who could blame the art world for not keeping up with a branch of visual art produced without commission, and therefore on a regular basis washed away? The “canonical” works of graffiti art such as Dondi’s “Children of the Grave pt. 3” (1980) are far more famous through Martha Coopers splendid photos, published in the book Subway Art (1984), than as material painting on a subway car in New York City. But the art theoretical discussions since the 1970-ties have also shifted the general understanding of the artwork. The view of the artwork as single monolithic artwork (traditionally either a painting, a sculpture or a building) with somewhat inherent qualities has been heavily challenged by an understanding of the artwork as a complex phenomenon constructed at the nexus of a wide range of different relations. This has in turn created a theoretical and conceptual space where it is possible to include vast areas of non-material artworks – such as performance and happening – into the tradition of visual art. I would claim that this non-material understanding of the object only facilely has breached into the discussions of graffiti and street art, and that this lack might one of the reasons for the disintegration from the art worlds. The following paper is a brief attempt to map out the apparatus of street and graffiti art – and thus a multi-positional understanding of the artwork in this context.
The number 1, addresses Center and Periphery issues of practical nature, texts directly related with authors and pieces, including distinct cities, and supports of creation such as photo and video, and also about research ethics. The number 2, is devoted to Theoretical approaches to Center, Periphery. Addressing world geographies like Uruguay and Brazil, methodological geographies centered in values, also about digital geographies, including also for Contributions for this issue were selected from the received full papers blind peer review process developed by the of three formats:-book or exhibition reviews.
The artistic social and environmental dimensions of 3D street pavement art
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The subject of the study is based on the three-dimensional art of drawing on the ground, also called the art of three-dimensional pavement art, as it attracts audiences for its strangeness and its implementation with techniques based on visual deception, achieving the third dimension, as well as the comical or political sense that dominates these works. The study also aimed to reveal the artistic, aesthetic, social and cultural dimensions of the three-dimensional street pavement art, deriving its importance from the problem arising from the need to identify the artistic and social dimensions in the art of three-dimensional street pavement art within the limits of contemporary arts. The most prominent results of the study were that some artists' works, such as the artist Julian Beever, were affected by political trends that aimed to achieve the principle of the right to live for all of humanity. Artist Kurt Wenner also brought out the issue of genetically modified animals. Some of the artists' works also contributed to complementing a place environmentally, as when the artist Manfred Stader created a scene that appeared at the end of the world, but the artwork preserved the place so that it became a complement to the street. Also, in the artist Edgar Müller work in the zoo, so that the three-dimensional work became complementary to the place. Some artists also relied on their imagination from a historical perspective, such as the artist Leon Keer in forming the ancient Chinese soldiers in a giant three-dimensional work in the form of Lego. The goal was to spark scenes and reshape the event in Florida, which may contribute to attracting many people.
Street Art and related terms – discussion and attempt of a definition (2015)
This paper gives a short introduction and discussion of the term Street Art and related terms like Graffiti and Urban Art. A major part discusses my definition of Street Art and other definitions and the differences and commonalities of these terms. Street Art consists of self-authorized pictures, characters, and forms created in or applied to surfaces in the urban space that intentionally seek communication with a larger circle of people. Street Art is done in a performative and often site-specific, ephemeral, and participatory manner. Street Art is mostly viewed online. It differs from Graffiti and Public Art. I quote first and foremost German researchers that are not translated into English but in my opinion should be part of the international academic discussion.
Anonymous Reflections of Art in Public Spaces Examples From the World
Anonymous Reflections of Art in Public Spaces Examples From the World, 2022
As identical and comparable with humanity’s existence, art has existed in its own sphere or created a space for itself through- out history. These spaces represent oneness in private and individual spheres from time to time, while they sometimes mean oneness in a public space. Art is also precious and effective in public spaces as a reflection of culture and human discourse and action. This study tries to reveal this value based on examples from different cities and different countries and aims to examine draw- ing-based street art and graffiti existing in the public space with some concepts like culture, space, and experience. In line with this purpose, knowledge is produced basically from observation techniques and experience. The existence of the said works has been examined and photographed on site, some examples expressing the discourse have been selected from dozens of photographs, and then phenomenological information has been analyzed with literature information. Then knowledge has been sought to be produced. In this context, the uniting, experience-creating, space-creating, and life-forming effects of the work of art have been ob- served, and its relations with culture and practice have been examined. Then the meaning has been explored as independent of the criteria like identity and brand. As a different discourse, it is stated in this study that what constitutes the reality of drawing-based works of art and graffiti in the public space is neither the name written under each piece nor the capitalist economies and dominant political views but the social acceptance of the work, the relationship it establishes with culture and its meaning.