scholarly journals MURALART AS A COMPONENT OF THE CULTURAL SPACE OF THE CITY

2020 ◽  
pp. 65-68
Author(s):  
A. O. Batenko
Keyword(s):  
Urban Space ◽  
Art History ◽  
Social Issues ◽  
Practical Significance ◽  
Street Art ◽  
Cultural Space ◽  
Artistic Value ◽  
Mural Art ◽  
Culture Development ◽  
The City

The aim of the article is to define the role of mural art as a part of street art in the context of the cultural urban space. Identification of mural art in cities, its transformation depending on the place of creation and changes in the perception of the viewer requires needs research that is more detailed. А lot of people do not distinguish between concepts in street art; do not understand the artistic value of murals. Therefore, it is useful to show all functions, which murals can have. The quantity and quality of murals in the urban space affects its reputation, culture, development trends. That is, murals can both spoil urban visions and aestheticize them. Murals often engine enrichment of human consciousness, because artists raise important social issues, motivate the viewer to think. They try to turn the city into a large gallery, to influence people who involuntarily become spectators and connoisseurs of street art. It is also appropriate to explore the trends of Ukrainian muralism in the urban space. After all, street art has become very popular in Ukraine, as evidenced we can see various thematic festivals and competitions. The research methodology involves an interdisciplinary approach, analysis of scientific works of cultural and art history, review of thematic media and creative work of street artists to determine the characteristics and purposes of their activities. The works of modern Ukrainian researchers who study the issues of the cultural space of the city, mural art and street art in general are involved. The scientific novelty lies in the study of the influence of mural art on personal perception on drawing attention to socio-political problems in the urban context. On the example of the analysis of works of world street artists the tendency to social and educational function of murals, instead of simply aesthetic, is traced. The practical significance of the study is to emphasize that murals have artistic value, a unique semantic message, and are not just a means of aestheticization. The article can be useful for specialists in culturology, history, art history, architecture and for artists.

scholarly journals STREET ART IN THE SPACE OF THE TOURIST ENVIRONMENT OF ZHYTOMYR

2019 ◽  
pp. 41-49
Author(s):  
Oksana Romaniv ◽  
Oleksii Rybachok ◽  
Daria Savelyeva
Keyword(s):  
Urban Space ◽  
Market Research ◽  
Wall Painting ◽  
Urban Tourism ◽  
Practical Significance ◽  
Street Art ◽  
Actual State ◽  
Sources Of Information ◽  
The City

The aim - to study the main characteristics of the tour "Street art Zhitomir" and its strategy to promote on the urban tourism market. Research methodology includes a system of methods and techniques: monographic, methods of market research (applied in the study of the existing demand for the proposed type of travel products and attitudes of local people to the street art), interviews with experts (used in collecting information about sightseeing objects), the method of field research (used in the study of the actual state of excursions subjects in real-world conditions of the area). Research results. Reviewed the role of street art in urban space rethinking the example of prominent projects in the world. Established terminological meaning of "street art", "mural", "graffiti" and so on. The benefits of increasing the popularity of street art are noted. Wall painting or mural (in Spanish muro - "wall", "masonry") - a kind of monumental and decorative painting, performed directly on the wall or plaster, in which the images and decorative ornaments are subordinated to architectural forms. It allows to improve urban landscapes in combination with post-Soviet architecture. Other positives of street art are: creating landmarks, designing space, marking space, and more. A separate positive of the Murals: they help attract more tourists to the cities. The text of the publication gives examples of murals in famous tourist centers, which have helped to transform the urban space. The article discusses the importance of street art as one of the most popular and fastest growing types of contemporary art in shaping the space of the urban tourism environment of Zhytomyr. It defines the role of murals as the most common direction of Zhytomyr street art. The results of the study of the most famous and significant murals of the city of Zhytomyr by available sources of information are presented, the possibility of their involvement in the excursion program is analyzed. The main components of the excursion product "Street Art Zhytomyr" in the publication are developed. The tools for promoting the proposed excursion product to the urban tourism market are identified. The scientific novelty of the work: an innovative city excursion product was developed. The excursion program includes fifteen locations. The content of the tour is designed for both professional artists and those who are not experts in the field of art. The practical significance of the work: this excursion product can be introduced into the tourism market and it will contribute to the formation of a positive tourist image of the city of Zhytomyr.

scholarly journals URBAN STUDIES IN THE CONTEXT OF THEORIES OF VISUAL PRACTICES

2017 ◽  
pp. 93-97
Author(s):  
A. M. Tormakhova
Keyword(s):  
Cultural Studies ◽  
Urban Environment ◽  
Urban Space ◽  
Urban Studies ◽  
Urban Areas ◽  
Mutual Influence ◽  
Interdisciplinary Approach ◽  
Practical Significance ◽  
Monumental Architecture ◽  
The City

One of the leading trends in contemporary cultural studies is the appealto the field of visual. Thepurpose of the article is to investigate the range of problems associated withthe existence, functioning of various visual practices in the urban space and the disclosure of the specifics of communication carried out through their intermediation. In urban space, there are many forms, such as monumental architecture, urban sculpture, outdoor illumination, landscape art, street art, graffiti and others. These artifacts are the subject of cultural research within different disciplines - aesthetics, cultural studies, design, and art. It may be noted that in recentdecades, significant development gets such a direction as Urban Studies, in which the focus of research serves the city. The methodology of the study includes an appeal to an interdisciplinary approach that relies on the achievements of practical cultural studies, Urban studies,and aesthetics theory by Ukrainian and Western authors. Scientific novelty consists in analyzing the connection ofactual visual practices presented in the urban space and forming of Internet activity, which facilitates the mutual influence of these spheres one on another. The author noted that urban space is gradually becoming not only interactive, but also fully assuming the characteristics of WEB 2.0, which means active rethinking and transforming the environment, urban residents involvement in decision-making that becomes a norm of everyday life. City is a kind of text that reflects changing tastes, politicaland economic factors in visualform. Town and city public spaces play an important role in shaping the interaction within society. One of the pressing problems of practical cultural studies in general and urban areas in particular, should be integrated into organization of the urban environment and design the image of the city. The practical significance lies in the fact that the results of the research can beused in developing the urban sphere in particular and in actualizing the issue of organizing the urban environment and constructing the image of the city.

scholarly journals CREATING SOCIOCULTURAL VALUES: THE PROBLEM OF LOCALIZATION IN THE URBAN SPACE

2020 ◽  
pp. 60-68
Author(s):  
Юрий Владимирович Преображенский
Keyword(s):  
Cultural Values ◽  
Urban Space ◽  
Spatial Interaction ◽  
Social Practices ◽  
Cultural Space ◽  
Economic Space ◽  
The Social ◽  
Effective Organization ◽  
The City ◽  
Positive Effect

Рассмотрен вопрос о сущности социокультурного пространства и его пересечении с экономическим пространством города. Показано, что наиболее эффективная организация пространственного взаимодействия данных пространств во многом является географической задачей. Предлагается метод изучения социальных практик населения для локализации точек и линий взаимодействия социокультурной и экономической сфер. Рассмотрены практики, в ходе которых создаются социокультурные ценности, положительно влияющие на экономическое пространство города. Обсуждается проблема влияния пешеходных пространств (наиболее насыщенных практиками) на формирование имиджа города. The question of the essence of the socio-cultural space and its intersection with the economic space of the city is considered. It is shown that the most effective organization of the spatial interaction of these spaces is in many ways a geographic task. A method is proposed for studying the social practices of the population to localize points and lines of interaction between the socio-cultural and economic spheres. The practice is considered in the course of which socio-cultural values are created that have a positive effect on the economic space of the city. The problem of the influence of pedestrian spaces (the most saturated with practices) on the formation of the city's image is discussed.

scholarly journals IMPACT OF CREATIVE INDUSTRIES ON THE VISUAL IMAGE OF A CITY

2019 ◽  
pp. 70-72
Author(s):  
A. M. Tormakhova
Keyword(s):  
Urban Space ◽  
Visual Image ◽  
Creative Industries ◽  
Economic Feasibility ◽  
Individual Development ◽  
Added Value ◽  
Practical Significance ◽  
City Development ◽  
Modern City ◽  
The City

The aim of the article is to highlight the specificity of visual transformations that occur in the modern urban space under the influence of the development of creative industries. The research methodology involves an interdisciplinary approach and engaging a range of cultural, sociological, and philosophical works. The works of modern foreign researchers Z.Bauman, Ch. Landry, D.Hezmondhalsh are attracted.The sphere of urban planning and the problem of creative industries are being studied. Thanks to creative industries is appears new jobs, the solution of social problems (especially in poor areas), as well as the transformation of urban space. The modern city is a reflection of the transformational processes taking place in the world. There is a change in the form of regulation of the city development policy, from the state to the municipal. There are conditions for activating creative industries that can be defined as an individual creative background, skill or talent that can create added value and jobs through the production and exploitation of intellectual property. The development of creative industries has economic feasibility, but this process is accompanied by a change in the image of the city. Urban space is the text of culture, which often combines non-interconnected components. The visual image of the modern city is repulsive and attractive, it is difficult to bring it to a single concept, but it continues to be the center of human life. Scientific novelty lies in the study of the relationship of the development of creative industries in the urban space and their impact on the visual image of the city. Practical significance is connected with the emphasis on the need to invent an individual development strategy for each city as a “creative city”, where the sphere of cultural production is leading. Promising is the direction of creative industries in a single direction and minimizing the factors influencing the negative perception of the vision of the city.

scholarly journals The Contested Gallery: street art, ethnography and the search for urban understandings

AmeriQuests ◽  
2006 ◽  
Vol 2 (1) ◽  
Author(s):  
Justin Armstrong
Keyword(s):  
Visual Culture ◽  
Urban Environment ◽  
Public Space ◽  
Urban Space ◽  
Urban Spaces ◽  
Cultural Value ◽  
Street Art ◽  
Cultural Characteristics ◽  
The Road ◽  
The City

This is a paper on street art and its role as a form of artistic insurrection that challenges popular understandings of public space and urban visual culture. I would like to think of it as a field guide to urban seeing, a means of revising the way in which we view the cityscape and its imagery. It is a way of imagining the city as a canvas onto which ideas may be inscribed and reinterpreted, where resistance percolates up to those who look for it. It is here, in what Kathleen Stewart has called a “place by the side of the road” that the work of the street artist exists, slowly gurgling up through the cracks in the sidewalk and briefly illuminated by the yellow-white glow of the street lights. Street art most often takes the form of adhesive stickers, spray-painted stencils, and wheat-pasted posters, and while it shares many similar aesthetic and cultural characteristics with graffiti, street art embodies a unique ideology. Graffiti represents a territorialization of space (‘tagging’, or reclaiming urban spaces through the use of pseudonyms as territorial markings); street art represents a reterritorialization of space. Rather than taking space, street art attempts to re-purpose the existing urban environment. This paper seeks to reflect the changing dynamic of urban space through an analysis of the practice of street art. By examining the roles that street artists play in disrupting the flow of visual noise in the city, I will illuminate the cultural value and significance of this form of urban artistic resistance.

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 PRODUCING CULTURAL SPACE IN THE CHINESE CITIES: A CASE STUDY OF GRAND THEATERS IN SHANGHAIPRODUCING CULTURAL SPACE IN THE CHINESE CITIES: A CASE STUDY OF GRAND THEATERS IN SHANGHAI

2020 ◽  
Vol 44 (1) ◽  
pp. 32-43
Author(s):  
Charlie Qiuli Xue ◽  
Cong Sun ◽  
Lujia Zhang
Keyword(s):  
Urban Space ◽  
Large Scale ◽  
Site Investigation ◽  
New Wave ◽  
Cultural Space ◽  
Chinese Cities ◽  
Space Design ◽  
Rapid Pace ◽  
The City

Following the rapid pace of urbanisation, Chinese cities have launched a new wave of large-scale infrastructure, including cultural building construction. From 1998 to 2015, more than 360 grand theaters were built together with libraries, museums and children’s palaces. The number of newly built theaters may have been more than the total sum built in Europe over the past 70 years. Through case studies of theaters built in Shanghai, this paper penetrates the phenomenon of the “heat of cultural buildings” and discovers the history, intentions and effects of these theaters on Chinese cities. Following on-site investigation of the city and theaters, the materials of theater building in China are presented. Theaters of various types are discussed in the framework of urban space, design language and consumerist culture. The authors find that the rapid growth of cultural facilities epitomises the ambition and strong implementation of Chinese (and Asian) governments in the wave of urbanisation and globalization.

scholarly journals Sleep in the City. Private Experience of Beauty and Its Urban Implications

2017 ◽  
pp. 121-144
Author(s):  
Bartosz Pokorski
Keyword(s):  
Urban Space ◽  
Aesthetic Experience ◽  
Street Art ◽  
Late Capitalism ◽  
Public And Private ◽  
Public Spheres ◽  
Private And Public ◽  
The Aesthetic ◽  
The City ◽  
Aesthetic Ideal

In my paper I try to trace and understand the reasons for the birth of the 24/7 world as it is described by Johnatan Crary in his book 24/7 Late Capitalism and the Ends of Sleep. He proposes a grim vision of late capitalism in which sleep deprivation and the disintegration of public and private spaces will become a market necessity. My attempt to understand is supported on two other authors. First, Hannah Arendt provided me with an analysis of origins, transformations and somewhat present version of the relation of private and public spheres. Second, Fredrich Schiller delivered an interesting theory on the aesthetic ideal, art, beauty and human experience of beauty. These three analyzes stand as basis for my attempt to present a proposal to overcome the crisis described by Crary and the answer is related to the issue of aesthetic experience of street art in urban space.

scholarly journals ENVIRONMENT OF HISTORICAL AREAS OF CITIES AS A BASIS FOR THE FORMATION OF INTERACTIVE RECREATION

2021 ◽  
pp. 36-44
Author(s):  
M. V. HNILOSKURENKO
Keyword(s):  
Urban Planning ◽  
Cultural Heritage ◽  
Urban Environment ◽  
Urban Space ◽  
Practical Significance ◽  
City Center ◽  
Interactive Communication ◽  
Historic Areas ◽  
Historic City ◽  
The City

Problem statement. In the modern urban planning practice of development of historical cities the role and potential of the city center are still insufficiently defined, features of its preservation and possible development are not revealed. In Ukraine, there is still no clear definition of the concept of “city center”, which does not contribute to the sustainable urban and architectural development of historic cities. Today there are different interpretations of such an urban category as “city center”. According to the researcher M. Bevz, the “city center” provides a rare opportunity to trace the millennial evolution of the urban planning system, which is rare in Ukraine. Some researchers believe that the city center is an important communication hub and a special space in which various functions of urban life are introduced, in all its evolution, modification, meanings and perceptions (O. Rybchynsky “Formation and revitalization of historical cities of Ukraine”). The author of the study considers it most appropriate to consider the concept of “city center” as identical to the concept of “historical core of the city”. Characteristics of the concept of “historic area of the city” appeared only in 2000 in the Law of Ukraine “On Protection of Cultural Heritage” as part of the settlement, which preserved cultural heritage sites and related planning and form of construction that originate from previous periods of development, typical of certain crops or periods of development. One of the most important methods of preserving and properly modernizing the environment of historical areas should be considered “revalorization”, which contributes to the cultural value of the historic city center. The purpose of the article is to highlight the importance of the historical area as a basis for the formation of interactive recreation. Results. Implementation of revalorization into the theory and practice of domestic reconstruction of the urban environment on the basis of comprehensive and deep theoretical research, as well as ideas for improving and arranging urban space with a focus on successful foreign solutions for using the cultural potential of the central areas of historical cities in the system of interactive recreation. The city should be considered as a multifunctional phenomenon in the diversity of manifestations due to its general cultural and historical significance. In this context, the historic city center is a concentration of interactive communication between residents. Interactive communication is primarily an exchange of ideas for improving the urban environment and enhancing information exchange between people. In such interaction of people and environment of special importance acquires the reflection of human emotional reaction to the made architectural and town-planning environment with its historically formed “human” scale and richness of forms that in turn is necessary protective reaction of the modern person to “standardization” of new city building. The creation of interactive recreation based on the cultural potential of the historic areas of the city allows to form in these areas full-fledged interactive recreational spaces in the combination of existing and new buildings. Scientific novelty and practical significance. Due to the active growth of requirements for the quality and comfort of the urban space of the historic core of the city, the practical significance of the study is to study the historically formed substance of the city, its authenticity; preservation, revival and development of the historical image of the city center on the principles of revalorization. Today there is a need to find and develop methods of activating the environment, one of which is the creation of interactive recreation, which will help to adapt the city-forming and functional significance of their historic areas to new needs.

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.

Sign in / Sign up

Export Citation Format

Share Document