urban art
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2022 ◽  
Vol 14 (2) ◽  
pp. 985
Author(s):  
Rita Ochoa

In 1998, the Lisbon Universal Exhibition—Expo’98—led to an urban regeneration process on Lisbon’s waterfront. Following the example of other cities, this event was a pretext for rethinking and replacing a depressed area and for reconnecting it with the Tagus river through the creation of a set of new spaces for common use along the water. It was promoted as a public art program, which can be considered quite innovative in the Portuguese context. In view of this framework, this article aims to debate the relationships between public art and the dynamics of urban regeneration at the end of the 20th century. For that, it will analyse: (1) Expo’98’s public art program, comparing its initial assumptions with the final results; and (2) the impact of this program, through the identification of the placement of public art before (1974–1998) and after (1999–2009) the event. Although most of the implemented works did not (intentionally) explore aspects of space integration nor issues of public space appropriation, Expo’98’s public art program originated a monumentalisation of Lisbon’s eastern riverfront, later extended to other waterfront areas. At the same time, it played an important role in the way of understanding the city and public space that decisively influenced subsequent policies and projects. It is concluded that public art had a significant role in urban processes in the late 20th century, which is quite evident in a discourse of urban art as space qualifier and as a means of economic and social development.


2022 ◽  
pp. 1156-1173
Author(s):  
Bryna Bobick

This chapter examines the partnership between an urban art museum and a university. It involves museum educators, art education faculty, and undergraduate students. It specifically explores the development of hands-on museum activities for elementary students created by the university participants. The chapter is written from a higher education perspective. It provides a description of all facets of the partnership from its planning to the completion of the museum activities. The partnership provided the university students authentic museum experiences and ways to make professional connections with museum professionals. Recommendations for those who wish to develop university/museum partnerships are shared.


Polymers ◽  
2021 ◽  
Vol 14 (1) ◽  
pp. 162
Author(s):  
Andrea Macchia ◽  
Sara Capriotti ◽  
Laura Rivaroli ◽  
Silvestro Antonio Ruffolo ◽  
Mauro Francesco La Russa

Urban art is a form of artistic visual expression and communication that is created in the street and generally in the public dimension of urban spaces. Often these kinds of artworks are in outdoor environments, and they usually suffer from atmospheric weathering and anthropic vandalism. Recently, several strategies have been used to limit or remove the effects of such vandalism. Currently, the use of quartz paints is growing among artists; such paints after setting are more porous and rough on the surface with respect to regular paints. The aim of the study is to assess the performance of anti-graffiti coatings on quartz artworks paints. Two anti-graffiti products were chosen, and their behaviors were assessed in the laboratory by means of contact angle measurement, water capillary test, colorimetric analysis, and optical and electron microscopy. Results showed good water repellence efficacy of the tested products, demonstrating that they are suitable for the protection of urban art, but at least two applications on the surface are needed to achieve good performance.


2021 ◽  
Vol 25 ◽  
pp. 118-142
Author(s):  
Laura Luque Rodrigo ◽  
Carmen Moral Ruiz

The configuration of cities is a reflection of the society that inhabits them and of those that once occupied that space. Urban planning also has the capacity to condition the lives of its inhabitants, which is why it has been a connatural concern of human beings since they left nomadic life behind. Rationalist urban planning and architecture, imposed since the end of the 19th century and especially in the 20th century, have given rise to serious problems that are reflected in intellectual, social and artistic movements that have demanded a more human and habitable urban space. Thus, the approaches that have emerged from the very heart of the street are fundamental: the hermetic occupation of space by graffiti; the proposals of urban art and its link with Situationism; artivism and the proposals of relational art that actively involve communities. However, in recent years and above all since the confinements produced by the COVID 19 pandemic in 2020, the virtualisation of the urban is generating new conceptual approaches that will be dealt with in this text, taking as the main example the work of the artist from Jaén, Nati Rodríguez. La configuración de las ciudades es reflejo de la sociedad que la habita y de aquellas que algún día ocuparon ese espacio, pero también el urbanismo tiene la capacidad de condicionar la vida de sus habitantes, por lo que es una preocupación connatural al ser humano desde que dejó la vida nómada. El urbanismo y la arquitectura racionalista, impuesta desde finales del siglo XIX y muy especialmente en el siglo XX, han dado lugar a serios problemas que se reflejan en movimientos intelectuales, sociales y artísticos que han reivindicado un espacio urbano más humano y habitable. Así, son fundamentales los planteamientos surgidos en el propio seno de la calle, desde la ocupación del espacio de manera hermética por parte del graffiti, a las propuestas del arte urbano y su vinculación con el Situacionismo, pasando por el artivismo y las propuestas de arte relacional que implican de forma activa a las comunidades. Sin embargo, en los últimos años y sobre todo desde los confinamientos por la pandemia de COVID 19 acaecidos en 2020, la virtualización de lo urbano está generando nuevos planteamientos conceptuales que serán abordados en el este texto, tomando como principal ejemplo la obra de la giennense Nati Rodríguez.


2021 ◽  
Vol 16 (28) ◽  
pp. 231
Author(s):  
Teodoro Victor Montenegro ◽  
Rosinete De Jesus Ferreira

A partir das disciplinas Educação e Tecnologia e Narrativa Ficcional e Documentário do Curso de Rádio e Televisão da UFMA, foi elaborado um produto audiovisual que relaciona arte urbana, comunicação e educação. O “documentário grafite.mp4” apresenta o processo de ensino baseado nas experiências de vida advindas dos educadores e educandos através do ato comunicativo, onde a arte urbana funciona como meio de repensar esses processos dentro do espaço escolar. Logo, este presente trabalho busca analisar teoricamente tais atos evidenciados na produção do documentário, traçando caminhos conceituais para compreendê-los, através do tripé teórico comunicação,experiência e educação.Grafitti.mp4 documentary: refletions on the education communication interfaceAbstractFrom the subjects Education and Technology and Fictional Narrative and Documentary of the Radio and Television Course at UFMA, an audiovisual product was made to relate urban art, communication and education. The “grafite.mp4 documentary” presents the teaching process based on life experiences arising from educators and students through the communicative act, where urban art works as ways of rethinking these processes within the school space. Therefore, this present work seeks to theoretically analise such acts evidenced in the production of the documentary, tracing conceptual paths to understand them, through the theoretical tripod communication, education and experience.Keywords: Communication; education; experience; documentary.


2021 ◽  
pp. 1-41
Author(s):  
Maryamalsadat Mansouri ◽  
Parisa Shad Ghazvini

Abstract In the city of Tehran, a series of war-themed murals, often focused on strengthening the audience’s historical memory, stand out among all types of urban art. These works of art, which are generated by the government’s order and created by different state institutions, all carry political and ideological dimensions. They are considered a source of environmental qualitative assessment and recognised as a kind of ‘urban aestheticisation’; in other words, it is a process leading to the production of value according to the ‘John Dewey’ theory. Knowing that the war artworks contain a major political dimension and are mainly created by the order of the ruling governments to ‘strengthen the audience’s historical memory’, an added quality is inevitably integrated, which in the aesthetic domain is commonly known as kitsch: taking advantage of people’s standard associations and confirming them by employing proven stereotypes and clichés, as Ortlieb and Carbon (2019b) wrote. The urban landscape as an exhibition platform is therefore important as it is the context of social events and daily life that affects the audience’s perception. John Dewey defines this perception as an aesthetic experience which takes place in the field of empirical aesthetics and begins by explaining why specific objects give pleasure or displeasure. These explanations will later be integrated into a set of principles which, in turn, will join a global system of analysis, such as Fechner’s aesthetic valuations. The aesthetic experience of war urban artworks is analysed from the observation that in the creation of these works in Tehran, the government, as the sponsor, focuses on the use of the aesthetic qualities of the kitsch. The article then presents the reading of this aesthetic experience through the analysis of a selection of works, based on evaluation criteria and indicators. The interpretation of this experience is to discover the ‘quiddity’ of the evolutions which have occurred in these works from the beginning of the war until today. The following statement highlights one of the most notable results of the research: the weakening of the art position, from a promotional state that improves the urban landscape quality, into a way of showing government’s positioning concerning the paradigms of the country.


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):  
Gustavo Valencia Jiménez ◽  
Adriana Hernández Sánchez ◽  
Christian Enrique De La Torre Sánchez

The city of Puebla was put on the UNESCO list of Cultural Heritage of Humanity in 1987; its history dates back to the sixteenth century allowing for the preservation of various important buildings, such as churches with baroque and neoclassical facades, buildings from the period known as Novo Hispanics, when some of its historic neighbourhoods were founded, including the Barrio el Refugio, hereinafter referred to as BR, where indigenous people employed in the lime manufacture used to live. Since those times, however, the neighbourhood has become a place with bad reputation, “a den of thieves” (Leicht). The traditional, religious commemoration, the “Fiesta Patronal de la Virgen del Refugio,” is the most important celebration in the neighbourhood. In the Church of La Virgen del Refugio, built in the seventeenth century after an inhabitant painted a mural with the image of the virgin, the “mañanitas” are sung with the Mariachi. During the patronal feast, the “El Refugio Cultural Festival” is held with more than a hundred artists taking part and creating about a thousand murals according to the organiser’s estimation. This happens in the city where a project “Puebla Ciudad Mural” was started, as an initiative of the “Colectivo Tomate,” which sought to regenerate the neighbourhood through art, in alliance with the government and private companies. However, these policies are more tourist oriented rather than benefit the neighbourhood. For this reason, the graffiti movement “Festival Cultural el Refugio” is becoming a meeting point for urban artists from Mexico and Puebla, accustomed to taking up public or private space, as they demand space where they can live and express themselves. For ten years the festival has realised more than one thousand pieces of urban art, including Wild Style graffiti, bombs, stickers, stencil, and murals. All this is done under the patronage of the artists themselves, as three hundred of them come from all over the country to take part in every edition of the festival that does not receive any government support or other form of sponsorship.


2021 ◽  
Vol 2 (4) ◽  
Author(s):  
Yang Xiao

Public art and urban art are two independent and interdependent concepts. Public art is characterized by publicity, which refers to the unique artistic features displayed in the urban public domain. Urban art is relatively restrained and implicit, which refers to the historical culture accumulated in the historical development of the city. However, there is a certain commonality between them, which can influence each other, promote each other and develop each other, and have an important impact on contemporary urban development and urban construction. This paper mainly explores the symbiosis between public art and urban art, and further analyzes and explains the symbiotic forms between public art and urban art.


Coatings ◽  
2021 ◽  
Vol 11 (11) ◽  
pp. 1304
Author(s):  
Andrea Macchia ◽  
Margarida Castro ◽  
Claudia Curbelo ◽  
Laura Rivaroli ◽  
Sara Capriotti ◽  
...  

The possibility of contemporary mural paintings to be “tagged” by vandals, with spray and/or markers, represents a serious problem for the conservation of urban art. The present study aims to define the applicability of a protective coating on murals’ surface to preserve them against vandalism. The research has been focused on anti-graffiti products currently used in the field of cultural heritage conservation. These products represent an optimum start point to preserve mural artwork from vandal actions. The commercially available anti-graffiti products have been compared with an innovative product, PRO-ART, specifically formulated by YOCOCU in collaboration with Pelicoat, for the conservation of murals. At the same time, it has tested the cleaning of contemporary murals by using different mixtures of solvents and surfactants. The experimentations have been carried out on external walls, followed by the conducting of in situ tests (application tests, empirical evaluations and colorimetric analysis), as well as laboratory investigations (contact angle and optical/electronic microscopy).


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