scholarly journals From the classical art to the urban art infusion effect: The effect of street art and graffiti on the consumer evaluation of products

2020 ◽  
Vol 29 (S1) ◽  
pp. 116-127
Author(s):  
Carsten Baumgarth ◽  
Jennifer Bahati Wieker
Keyword(s):  
Street Art ◽  
Consumer Evaluation ◽  
Urban Art ◽  
Art Infusion

scholarly journals Os Bois de Carne e Osso, as Vacas Sintéticas e o Pixo Urbano: Quando a estética de rua afronta a ética da “obra de arte” na cidade de Belém (PA)

ILUMINURAS ◽  
2020 ◽  
Vol 21 (54) ◽  
Author(s):  
Flávio Leonel Abreu da Silveira ◽  
Petronio Medeiros Lima Filho
Keyword(s):  
Glass Fibre ◽  
Local Communities ◽  
The State ◽  
Street Art ◽  
Environmental Disaster ◽  
Work Of Art ◽  
Urban Art ◽  
Normal Life ◽  
The City

Resumo: Buscamos compreender os dilemas em torno da ação de uma artista que pixou a palavra “NAUFRÁGIO” no corpo sintético de uma das vacas da CowParade Belém 400 anos, evento internacional de arte na rua que aconteceu na capital do estado do Pará, no ano de 2016. A pixação enquanto uma agência de significativa inserção ético-estética conectou dois episódios de grande impacto no contexto paraense: 1. O episódio envolvendo “bovinos” chamado CowParade, no qual 50 vacas de fibra de vidro foram customizadas por artistas locais e expostas na cidade. 2. O naufrágio de um navio carregado de bois vivos no porto de Vila do Conde a poucos quilômetros de Belém, que matou milhares de bovinos (resultando em 2.450 toneladas de carcaças) num grande desastre socioambiental com repercussões econômicas sérias para as comunidades locais, já que os resíduos do desastre (carcaças e óleo) confundem as ordens do limpo e do sujo, do lixo e do asseio nas paisagens, impossibilitando o curso normal da vida no mundo urbano. Palavras chave: Bois. Arte Urbana. Naufrágio. Desastre. Amazônia Paraense  FLESH AND BONES BULLS, SYNTHETIC COWS AND URBAN TAG-GRAFFITI:WHEN STREET AESTHETICS AFFRONTS HE ETHICS OF A “WORK OF ART” IN THE CITY OF BELÉM (PA). Abstract: We look to comprehend the dilemmas surrounding the act of an artist of tag-graffitiing the word “SHIPWRECK” in a synthetic body of one of the cows taking part in the Belém 400 years’ CowParade, an international street art event which happened in the capital of the state of Pará, in 2016. The tag-graffiti as an agency of significant ethic-aesthetic insertion that connected two episodes of big impact in the context of Para: 1. The episode involving “bovines” called CowParade, in which 50 glass fibre cows were customized by local artists and exposed in the city. 2. The shipwreck of a ship loaded with living bulls in the port of Vila do Conde few kilometres away from Belém, which killed thousands of bovines (resulting in 2.450 tons of carcasses) causing a huge socio-environmental disaster with serious economic repercussions for the local communities since the residues of the disaster (carcasses and oil) confuse the orders of clean and dirty, garbage and cleanliness in the landscapes, making normal life in the urban world impossible.Keywords: Bulls. Urban art. Shipwreck. Disaster. Paraense Amazon

An emerging art world: The de-subculturalization and artification process of graffiti and pixação in São Paulo

2021 ◽  
pp. 136787792110184
Author(s):  
Ricardo Campos ◽  
Gabriela Leal
Keyword(s):  
Urban Space ◽  
Sao Paulo ◽  
Street Art ◽  
Art World ◽  
São Paulo ◽  
Urban Art ◽  
Social Actors ◽  
The Social ◽  
The One ◽  
The City

Graffiti art and street art have been increasingly described as an artistic movement, with a constant presence in the streets, but also in galleries and museums. In this article we use the term urban art to define this institutionalized category, originating from informal street expressions. In the specific context of the city of São Paulo (Brazil), most of the social actors that make up this art world have backgrounds linked to graffiti and pixação. These two urban subcultures are linked to informal forms of appropriation of the urban space through illicit inscriptions. In this article, we aim, on the one hand, to describe the features and singularities of urban art as an emerging art world and, on the other, to understand how careers are developed in this universe. The empirical data derives from a qualitative research (in-depth interviews and ethnographic observation) developed during the past three years.

scholarly journals The problem of adaptivity of the street art into social and cultural environment of the city (Ukrainian context)

2021 ◽  
pp. 12-16
Author(s):  
M. Zhyhailo
Keyword(s):  
Information And Communication Technologies ◽  
Mass Culture ◽  
Cultural Landscape ◽  
Street Art ◽  
Cultural Environment ◽  
Art Integration ◽  
Urban Art ◽  
City Environment ◽  
The Social ◽  
The City

The purpose of the article is to carry out cultorologic comprehension of the adaptivity of the street art into social and cultural environment of the Ukrainian city and to define the directions of the city environment humanization. The topicality of the article. The street art became the inherent part of the social and cultural environment of the city, the ground for artistic self­expression, visual ring for discussions, conflicts and a means for promotion and branding of the city. Despite the humanization of the city environment, the issue of adaptivity of the street art into social and cultural environment of the city remains still urgent and open. The methodology is based on application of the hermeneutic interpretation (to define the notion of the “street art” at the modern stage of research), comparative analysis (with the purpose to detect the peculiarities of the process of the street art integration into the cultural landscape of the city environment), structural and functional method (to clarify the prospective adaptation directions of the urban art into the urban cultural environment), axiological approach (to define the role of the street art in the cultural and artificial development of the city). The central position in the research is allotted to culturological approach allowing to clarify the specific features of the street art adaptivity into social and cultural environment of the city, to reveal the peculiarities of the multicultural city environment formation. The scientific novelty lies in theoretic comprehension of the process of the street art adaptivity into social and cultural environment of the city and detection of the priority ways of the urban art integration into the cultural matrix of the city. The results. Variability of the street art interpretation in the context of the city environment was considered. The specifics of the street art existence at the modern stage of the research was defined. The prospective directions of the urban art integration into the cultural landscape of the city was traced: differentiation at the legislative level of the notions “street art” and “vandalism”, application of the urban art in design of the city environment and creation of the city brand, application of the information and communication technologies in creation of the artistic objects, tourist guides, etc. The practical significance. The research results may be used in training the higher education applicants in the social and art fields of knowledge, for example, lecture materials of the disciplines aimed at the study of ХХІ century culture, mass culture, urban science, etc.

scholarly journals Ballerinas and Band Aids: The Performances of Urban Art in Post-Earthquake Christchurch

2018 ◽  
pp. 87-107
Author(s):  
Reuben Woods
Keyword(s):  
New Zealand ◽  
Hurricane Katrina ◽  
New Orleans ◽  
Strong Sense ◽  
Street Art ◽  
Urban Art ◽  
Political Discourses ◽  
New Approaches ◽  
Shared Space ◽  
Do It Yourself

While graffiti and street art span generations and all corners of the globe, it was still unexpected when Christchurch,a New Zealand city identified by many as a colonial English transplant with a perceived conservative air, was positionedas an urban art ‘destination’ in the wake of the devastating cluster of earthquakes in 2010 and 2011.1 Historically lacking a strong sense of street culture, such as that in New Orleans (which suffered similar devastation after Hurricane Katrina, 2005), Christchurch's post-quake landscape encouraged public discourses and as such required new approaches to shared space.2 As public expressions with do-it-yourself qualities already predisposed to make use of the post-quake landscape, graffiti and street art proved fitting additions to this terrain. They signified life and rebirth, while also engaging with loss and change, revealing the structures of urban and suburban existence, and creating political discourses.

scholarly journals Graffiti

2017 ◽  
Author(s):  
Andrzej Zieleniec
Keyword(s):  
Antisocial Behavior ◽  
Urban Space ◽  
Urban Landscape ◽  
The United States ◽  
Street Art ◽  
Urban Art ◽  
Urban Decay ◽  
Youth Subculture ◽  
History Of ◽  
The City

Graffiti has a long history. There are many examples from the history of human cultures of signs and symbols left on walls as remnants of human presence. However, the origins of modern graffiti reside in the explosion of creative activity associated with the development of urban cultural expression among marginalized individuals, groups, and communities in the United States in the late 1960s and early 1970s. Graffiti has expanded in form and content as well as geography to become an almost universal urban phenomenon. It is a ubiquitous feature of cities and an adornment of the modern urban landscape. It has developed beyond its original expression and identification with lettering and spray paint to now encompass a range of media and practices that are associated with street art. Graffiti in particular, but also street art, has engendered contrasting opinions and reactions about its effect, meaning, and value. It elicits a variety of responses both positive and negative. Is it art or is it crime? Is it a creative expression or resistance to dominant urban design discourses and management? Is it vandalism? Is it the result of deviant youthful and antisocial behavior? It has been linked to urban decay and community decline as well as regeneration and gentrification. Graffiti writers and street artists have been criminalized, while others have been lauded and promoted within the commodified world of the art market. The popularity and spread of graffiti as a global phenomenon have led to an increasing academic, artistic, and practitioner literature on graffiti that covers a range of issues, perspectives, and approaches (identity, youth, subculture, gender, antisocial behavior, vandalism, gangs, territoriality, policing and crime, urban art, aesthetics, commodification, etc.). The worlds of graffiti and street art are therefore complex and have provoked debate, conflict and response from those who view them as forms of urban blight as well as from those who perceive them as an expression of (sub)cultural creativity and representative of urban vibrancy and dynamism. The study of who does graffiti and street art, as well as why, where, and when they do graffiti and street art, can help develop our understanding of the competing and contrasting experiences and uses of the city, of urban space, of culture, of design, and of governance. Graffiti is therefore also the focus for social policy initiatives aimed at youth and urban/community regeneration as well as the development and exercise of criminal justice strategies.

scholarly journals Dual Place of Street Art – the City vs the Internet

2017 ◽  
pp. 99-109
Author(s):  
Agnieszka Gralińska-Toborek
Keyword(s):  
Street Art ◽  
The Internet ◽  
Direct Experience ◽  
Physical Sense ◽  
Urban Art ◽  
Common Space ◽  
The World ◽  
The City

Street art (or more broadly urban art), as the name suggests, has its own specific place, which is the street. 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.

scholarly journals ‘Matatu’ Graffiti as An Avenue for Self-Expression and Social Commentary Among the Youth in Nairobi, Kenya

2020 ◽  
Vol 2 (1) ◽  
pp. 87-103
Author(s):  
Kamau Wango
Keyword(s):  
Hip Hop ◽  
Urban Culture ◽  
Three Dimensional ◽  
Street Art ◽  
Social Commentary ◽  
Political Factors ◽  
Urban Art ◽  
Urban Public Transport ◽  
Verbal Symbolism ◽  
The Relationship

This paper seeks to examine urban Art in Kenya as an integral part of urban culture with particular emphasis on ‘matatu’ graffiti, (an off-shoot of ‘mural’ graffiti that is depicted on medium-sized vehicles used for urban public transport) as an avenue for self-expression among the youth in Nairobi, Kenya. It will also examine other forms of related art, such as the genre of painting referred to as street art and explore the genesis of themes and subject matter that interest the youth. In order to generate a chronology of thoughts, the paper approaches the above first from the broad spectrum of urban culture and what it entails and then breaks it down to one of the most critical and visible elements of urban culture which is urban Art which, in turn, encompasses many forms of visual creativity both in two dimensional and three-dimensional dispensations that manifest themselves within an urban environment. The paper delves substantively on the generation of broad themes that form the basis of varied subject matters that are regularly depicted in matatu graffiti. These broad themes often derive or emanate from sociocultural, socioeconomic, religious and political factors. The paper also examines the age bracket (herein referred to as The Youth) which embraces urban Art both in terms of its execution and its consumption as well as the underlying factors that seem to make it broadly attractive and acceptable as a means of self-expression, collective discourse and social commentary among the youth. The paper finally examines the relationship between matatu graffiti and hip-hop, a genre of music characterized by terse verbal symbolism and which is increasingly associated with urban culture and the complexities of social expression in the contemporary urban world.

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