Imaging Egypt’s political transition in (post-)revolutionary street art: on the interrelations between social media and graffiti as media of communication

2015 ◽  
Vol 37 (4) ◽  
pp. 581-601 ◽  
Author(s):  
Adrienne de Ruiter
2020 ◽  
Vol 7 (2-3) ◽  
pp. 133-155
Author(s):  
Laima Nomeikaite

In recent years, individual street artworks have been framed as cultural heritage. However, attempts to integrate street artworks and graffiti into formal heritage frameworks have not provided solutions to the philosophical and practical problems associated with their preservation. Rather than focusing on street artworks as passive objects to be conserved, preserved or managed, this research analyses the conservation of Dolk’s street artworks as an example of lively theatrical performance emerging from embodied actions, lived processes and social practices. Applying non-representational theory, heritage studies and cultural studies, the research argues that the conservation of street artworks is not passive, but active – a process in which humans, social media and artworks, themselves, are active, relational and equally important actors contributing to ‘heritagization’. The case illustrates that acts of destruction – as well as social media debates and street art performances that oppose conventional heritage practices and commodification – can serve as stimuli for not only reconsidering the meanings and values of street art but also protecting the rights of city commons.


2020 ◽  
Vol 9 (1) ◽  
pp. 27-44
Author(s):  
Ruth Alexandra Moran

This article examines the recent intense public interest in Dublin street art collective Subset’s urban painting, which co-opts the language, practices and attitude of graffiti culture as brand narrative, producing a commodity from their portrayal of subversion, which they self-promote on social media. While the career trajectory from vandal or graffiti artist to the established art world is nothing new, what is particularly interesting is how Subset went from an unknown group of art college graduates in early 2017 to their acceptance and recognition by the arts establishment in late 2019. The case of Subset is interesting in terms of the evident cultural cachet of their synthesis of subversive practices and the promotion of their brand in their work, which has proven very popular with the public. As a result, the Subset brand has in turn been co-opted by traditional media, political discourse and the arts establishment.


2020 ◽  
Vol 4 (3) ◽  
Author(s):  
Eleonora Atanasova-Petrova ◽  
◽  
◽  

Banksy is an anonymous England-based street artist, vandal, political activist, and film director, active since the 1990s. His satirical street art and subversive epigrams combine dark humour with graffiti executed in a distinctive stenciling technique. His works of political and social commentary have been featured on streets, walls, and bridges of cities throughout the world.Over the last few years, Banksy‘s name has become increasingly popular, especially through his recent, highly provocative works and appearances. In 2018, at Sotheby‘s Auction House, his famous work „The Girl with the Balloon“ was auctioned at $ 1.4 million. As the lead auctioneer‘s hammer hit, a beeping sound caught everyone‘s attention to Banksy‘s work, which slowly began to slide down and shredded narrow long strips in front of the astonished glances of onlookers. The scandal has aroused great public interest. On the next day, Banksy posted on Picasso a social media quote – „The urge to destroy is also a creative urge“. A few days later, the owner of the shredded work exhibited it in the museum, already renamed „Love is in the Bin.“ The work is currently worth twice as much in its present form, as a concept contemporary work, of its original value. Who is Banksy – a rebel art creator or just a provocateur with quality PR?


ASHA Leader ◽  
2015 ◽  
Vol 20 (7) ◽  
Author(s):  
Vicki Clarke
Keyword(s):  

ASHA Leader ◽  
2013 ◽  
Vol 18 (5) ◽  

As professionals who recognize and value the power and important of communications, audiologists and speech-language pathologists are perfectly positioned to leverage social media for public relations.


2013 ◽  
Vol 44 (1) ◽  
pp. 4
Author(s):  
Jane Anderson
Keyword(s):  

Sign in / Sign up

Export Citation Format

Share Document