scholarly journals Graffiti, Street Art, Urban Art: Terminological Problems and Generic Properties

2013 ◽  
pp. 1-13
ILUMINURAS ◽  
2020 ◽  
Vol 21 (54) ◽  
Author(s):  
Flávio Leonel Abreu da Silveira ◽  
Petronio Medeiros Lima Filho

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


2021 ◽  
pp. 136787792110184
Author(s):  
Ricardo Campos ◽  
Gabriela Leal

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.


2021 ◽  
pp. 12-16
Author(s):  
M. Zhyhailo

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.


Author(s):  
Reuben Woods

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.


Author(s):  
Andrzej Zieleniec

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.


Author(s):  
Agnieszka Gralińska-Toborek

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.


2020 ◽  
Vol 2 (1) ◽  
pp. 87-103
Author(s):  
Kamau Wango

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.


2019 ◽  
Vol 16 ◽  
pp. 125-133
Author(s):  
Rita Lucía Amor García
Keyword(s):  

Con la expansión de las prácticas de arte público independiente y su reconocimiento como arte accesible y cercano al público, sus formas se introdujeron y expandieron en entornos tradicionales como las galerías. Con ello, el mercado del arte tomó una importante posición al aceptar dentro de su repertorio obras vinculadas al grafiti y al Street Art (arte urbano). Este arte de origen independiente encontrado actualmente en sectores institucionalizados es lo que se conoce internacionalmente como Urban Art. A efectos históricos, el nacimiento, evolución y traspaso de fronteras entre las prácticas en espacio público y su inclusión en la galería, son hechos cercanos entre sí y relativamente recientes. Aun así, mucho ha ocurrido desde la celebración de las primeras exposiciones en los años 70 del siglo XX hasta la actualidad. Este artículo hará un recorrido de ese periodo, presentando cómo ha repercutido la inclusión de obras de escritores de grafiti y artistas urbanos dentro del mercado del arte y con ello, en su conservación.


2016 ◽  
Author(s):  
Nicolás Couvreux Alijarte

Este texto tiene el propósito de realizar una aproximación a dos maneras diferentes de concebir el graffiti y el arte urbano en el ámbito teórico. En la actualidad nos encontramos con la opinión de unos especialistas que estudian el graffiti y el arte urbano por separado, entendiendo que son dos juegos esencialmente diferentes, que tienen raíces culturales diferentes, practicantes diferentes y públicos diferentes; mientras que desde la opinión de otros especialistas el graffiti y el arte urbano son parte de un mismo fenómeno que ha evolucionado a través de un complejo proceso desde el grafiti infantil, el grafiti de las pandillas, el writing, el graffiti, el postgraffiti, el street art o el arte urbano. Por ello es necesario acuñar términos para diferenciar estas dos visiones, facilitar su estudio y prevenir fricciones o conflictos a nivel práctico y teórico.En este sentido se denomina “visión purista” a aquella que considera que ambos fenómenos son esencialmente diferentes y “visión evolutiva” a aquella que considera que ambos fenómenos están estrechamente vinculados a través de un proceso evolutivo.Purist vision and evolutionary vision: Two ways of understanding the graffiti and urban art.This text is intended to make an approach to two different ways of conceiving the graffiti and street art in the theoretical realm. Today we find the opinion of some experts who study the graffiti and street art separately, understanding that there are two essentially different games, which have different cultural backgrounds and different public; while from the opinion of other specialists of graffiti and street art are part of the same phenomenon that has evolved through a complex process from child grafiti, gang grafiti, the writing, graffiti, postgraffiti , street art or urban art. It is therefore necessary to coin terms to differentiate these two visions, facilitate their study and prevent frictions or conflicts practical and theoretical level. In this sense it is called “purist vision” to one that considers both phenomena are essentially different and “evolutionary vision” to one that considers the two phenomena are closely linked through an evolutionary process.


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