Hoppe, Ilaria (2018): Review of Glaser, K., 2017. Street Art and New Media. Actors - Practices - Aesthetics. (original) (raw)
Related papers
Dual Place of Street Art – the City vs the Internet
Acta Universitatis Lodziensis. Folia Philosophica. Ethica-Aesthetica-Practica, 2017
Street art (or more broadly urban art), as the name suggests, has its own specific place, which is the street. 1 However one would be mistaken to think that this type of art can only be seen there. Most street art lovers know the works of their favourite artists primarily through the Internet, not only because this kind of art is ephemeral or not easily accessible (for example, due to its dangerous or exotic locations), but because it is perhaps the best documented art that has been created in the world. For artists and lovers of street art, the Internet has become a common space to share photos. More often than not, the Internet also becomes the only place where artistic ideas exist. Paradoxically, such art, which was supposed to be the nearest to the viewer in the physical sense, has become the nearest in the virtual sense. One can, however, hope that neither consumers of art nor artists will have to give up their direct experience of art that builds our polysensory sensitivity.
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.
Digital culture and the mediatization of urban art practices
Modernity is characterized by the use of technological devices and its influence in the relationship between individuals and its contexts, since reality is experienced through a screen or a digital surface. Deeply rooted in media and digital culture, our society contrasts with the previous ways of living, where the physical presence was enough to meet, interact, and communicate. The rise of technology and its impact in individuals also enabled the adoption of different social roles. Today, human beings are encouraged to assume profiles that match their virtual presence, towards an increase of their popularity. Considering a post-medial condition, all the factors referred will interfere and determine the behaviour, personality, and status that each individual holds and adopts in its real life. At this regard, the public space started to host all these social dynamics, moving between real and virtual contexts. The city became, at first, a politicised space, and, then, a suitable one to convey personal beliefs, collective and symbolic narratives, and multiple discourses. Therefore, the urban landscape hosts layer after layer of meaning that, together, witness the memories and the history, following the artistic, cultural, social, and political issues that individuals imprinted in the medium: the urban fabric. Artists became aware of these symbolic exchanges and of the possibility of exploring cities as experimental artistic sites. As a result, they founded avant-garde movements combining different expertise (ex. architecture and arts), to achieve innovation and enhance the process as a key towards a more participatory framework. The digital culture and its features allowed the coexistence of these narratives, both physically and virtually, reaching a wider audience of admirers and active actors in the artistic practice.
Art on the Streets:Past and present practices
De vidas Artes, 2019
This paper explores just some of the many ways in which artistic practices have appeared on streets, and even though the focus will mainly be on the visual arts, the framework will also account for a much broader creative approach of the public space. A secondary theme of the research will be that of observing the ever-evolving relationship of the aforementioned practices with institutions, both established art ones and the ones pertaining to the city, and the policies in between. Seeing the changes on both sides, we analyze them from a social perspective. As radical art starts to find its way into museums and as 'vandalism' is co-opted and heralds gentrification, we can only wonder if the street has gone soft or whether the roughness just increasingly and comfortably out of sight, and how does this affect the right to the city?
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.