Street art : Mirror reflections on and meshing with urban agriculture

Street Art: Mirror Reflections on urban AgricultureThis chapter will look at the way socio-political commentary exists in street art and how it has tended in recent times to be displayed overlooking community urban gardens. The urgency with which inner suburban councils in Melbourne Australia have dedicated themselves to carving out recreational spaces is a reflection on the expectations of multi-cultural groups whose culture incorporates the growth of vegetable and fruits close to their place of residence. Street art, famous for its commentary on urban ugliness, has integrated its philosophy and aesthetics, along side notable community gardens in Melbourne. The images incorporate the aims of urban agriculture whilst often simultaneously critiquing the alienation of the urban dweller cut so relentlessly from the means of growing food and from accessing land that might produce it. Community gardens in the twenty-first century go some way to reversing a state of being in which ‘workers’ were alienated from the source of their labor and their survival. This chapter will also probe the extent to which street art in the inner laneways of Melbourne incorporate in to their designs fauna and flora. This reference to all that is organic in environments devoid of vegetation draws attention not only to that absence but also for the need to address it. This work will therefore deal with two interrelating themes: 1. Street art that complements community gardens; 2. Street art that engages with agricultural imagery and images of fauna and flora with the aim of subverting the continual growth of unregulated concrete jungles. The chapter will be informed by interviews with well known Australian street artists and will also explore the work they have done in Paris, Jamaica, London and Miami on both themes stipulated above.

ArtMap geo-social street art

Il progetto ArtMap! mette a disposizione un applicativo user, destinato agli utenti, che tramite una struttura a social network, propone una mappatura globale di street art. Viene messo a disposizione un archivio di informazioni, aggiornate direttamente dagli utenti, relative a opere ed artisti e la possibilità di creare itinerari personali. Inoltre, è stato sviluppato un applicativo di supporto per la convalidazione delle informazioni inserite dagli utenti, destinato ai gestori del database di informazioni.

Propuesta de un modelo de comunicación para la realización de una acción de Street Marketing-Street Art

Creación de un modelo de comunicación que fusione los mejores atributos del Street Marketing y el Street Art. Previamente, se habrán estudiado los conceptos procedentes y se habrá realizado un análisis de acciones específicas así como entrevistas a creativos del sector. Posteriormente se utilizará este modelo para crear, definir y proponer una de acción de comunicación que será promovida por una institución cultural.

Olhares street art - investigação ação : de que forma abordagens de arte contemporânea nas escolas promovem a criatividade

In this study we intend to address a learning experience that was inspired by the intersection between public art and art education. We intend to make a reflection and analysis of pedagogical actions undertaken during this experience related to a theoretical framework to help us evaluate and improve the pedagogical and methodological strategies. The experience began with a visit to the exhibition "Street Art" at the AXA building in Porto. This visit was made with a group of children of different ages, accompanied by their parents, in May 2014. This exhibition brought new gazes for urban art. By recognizing obvious benefits such as proximity and accessibility, urban art, so rarely addressed in the classroom, may be an educational resource. Our intention in this study asks whether the contact with urban works of art can be motivating for students and facilitators of learning. We used a methodology of action research to approach urban art in visual art education lessons, exploring various art objects of the exhibition "Street Art" and the surrounding city with students. The study findings pointed out a positive response to initial questions

Ann Arbor Street Art Fair 38th Annual

July 16-19, 1997, on East &South University Avenues, and Church Street, Ann Arbor, Michigan. Hours: Wednesday -Friday 9am-9pm, Saturday 9am - 5 pm

Monsters Take to the Streets! Monstrous Street-Art as Pedagogy of Resistance to Post-Olympic Regeneration in Hackney Wick?

This chapter explores geographies of gentrification and resistance in relation to the monstrous through the lens of street-art in post-Olympic London. It takes as a geographic case study Hackney Wick, which has for a long time been a bastion of alternative and creative living due to cheap rents in large, ex-industrial warehouse spaces. The artistic sociality of the area is imbued within its landscape, as prolific street artists have adorned ex-industrial warehouses and canal-side walls with graffiti and murals. Since the announcement of the 2012 Olympic Games, the area has been a site of intense political and aesthetic contestation. The post-Olympic legacy means that the area has been earmarked for redevelopment, with current residents facing the possibility of joining thousands already displaced by the games. The anxiety of dispossession is reflected by monstrous characters and sinister disembodied teeth, eyes and fingers embedded within the landscape, painted by local artists. Using geographically sensitive mobile and visual methodology to document the landscape and artwork, the chapter analyses and interprets the monstrous themes using a range of theorists including Mikhail Bakhtin, Georges Bataille and Nick Land. I argue that monstrous street-art lays visible claim to public territory for aesthetic purposes at odds with the visions of redevelopers and the needs of capital. Whilst street-art and graffiti do not fit easily within frameworks of organized political resistance or collective social movements, they operate as a kind of epistemological transgression that triggers transformative affects in the viewer. This creates conditions for pedagogies of resistance to gentrification by expressing and mobilizing political affects such as anger and anxiety, raising awareness of geographical politics, and encouraging the viewer to question the status quo of the built environment.

BRINGING STREET ART TO SCHOOL: OPEN TO INCLUDE

Inclusive Education values differences by reducing barriers to learning and promoting active participation and positive interactions between all members of school community. Nowadays, school faces numerous children/adolescents who for several reasons have developed challenging behaviours and high risk of dropping out school. They come often from socio-cultural-economic minority groups and have sometimes a repeated course of academic failure. Art has had the ability to bring together the interests of all, even of the most unsuitable. In this paper, the authors present an intervention through street art/graffiti done in a secondary school, with a ninth grade class covered by PIEF Programme. The project aimed to understand if the integration of graffiti art in educational process had impact on challenging behaviour. The study, with a qualitative methodology, shows contributions of artistic experience as an asset to educational development of students with challenging behaviours contributing to a better school and inclusion.

Reciprocity : where art meets the community : action research in response to artistic encounters and relationships

This practice-led research project examines some of the factors and issues facing artists working in the public domain who wish to engage with the community as audience. Using the methodology of action research, the three major creative projects in this study use art as a socio-political tool with the aim of providing an effective vehicle for broadening awareness, understanding forms of social protest and increasing tolerance for diversity. The three projects: Floodline November 7, 2004, Look in, Look out, and The Urban Terrorist Project, dealt with issues of marginalisation of communities, audiences and graffiti artists respectively. The artist/researcher is outlined as both creator and collaborator in the work. Processes included ephemeral elements, such as temporary installation and performance, as well as interactive elements that encouraged direct audience involvement as part of the work. In addition to the roles of creator and collaborator, both of which included audience as well as artist, the presence of an outside entity was evident. Whether local, legal authorities or prevailing attitudes, outside entities had an unavoidable impact on the processes and outcomes of the work. Each project elicited a range of responses from their respective audiences; however, the overarching concept of reciprocity was seen to be the crucial factor in conception, artistic methods and outcomes.

Hiding in plain sight: street artists online

Identity and privacy concerns related to social media are the subject of widespread academic enquiry and mass media reporting. Although in most circumstances academic research tends to present identity play and online self-presentation as positive, media reporting in Australia makes much of the risks of identity theft, privacy breaches and online predators. This research explores the phenomenological experience of creating an online persona, focusing particularly on street artists. For street artists, the threat of unwanted exposure has to be balanced with the positive implications of sharing their creative work outside its geographical and temporal constraints. I argue that street artists use complex persona-creation strategies in order to both protect and promote themselves. The two street artists discussed in this article experience their engagement with social media and digital networks in ways that offer new insight into the opportunities and problems associated with the presentation of a persona online.

The role of the curator in the context of contemporary art

Dissertação de Mestrado, Comunicação, Cultura e Artes, Faculdade de Ciências Humanas e Sociais, Universidade do Algarve, 2014

Devising a scenographic approach in Jonzi D's Hip Hop theatre

Jonzi D, one of the leading Hip Hop voices in the UK, creates contemporary theatrical works that merge dance, street art, original scored music and contemporary rap poetry, to create theatrical events that expand a thriving sense of a Hip Hop nation with citizens in the UK, throughout southern Africa and the rest of the world. In recent years Hip Hop has evolved as a performance genre in and of itself that not only borrows from other forms but vitally now contributes back to the body of contemporary practice in the performing arts. As part of this work Jonzi’s company Jonzi D Productions is committed to creating and touring original Hip Hop theatre that promotes the continuing development and awareness of a nation with its own language, culture and currency that exists without borders. Through the deployment of a universal voice from the local streets of Johannesburg and the East End of London, Jonzi D creates a form of highly energized performance that elevates Hip Hop as great democratiser between the highly developed global and under resourced local in the world. It is the staging of this democratised and technologised future (and present), that poses the greatest challenge for the scenographer working with Jonzi and his company, and the associated deprogramming and translation of the artists particular filmic vision to the stage, that this discussion will explore. This paper interrogates not only how a scenographic strategy can support the existence of this work but also how the scenographer as outsider can enter and influence this nation.

Cork as canvas : exploring intersections of citizenship and collective memory in the Shandon Big Wash Up murals

Urban space has the potential to shape people's experience and understanding of the city and of the culture of a place. In some respects, murals and allied forms of wall art occupy the intersection of street art and public art; engaging, and sometimes, transforming the urban space in which they exist and those who use it. While murals are often conceived as a more ‘permanent’ form of painted art there has been a trend in recent years towards more deliberately transient forms of wall art such as washed-wall murals and reverse graffiti. These varying forms of public wall art are embedded within the fabric of the urban space and history. This paper will explore the intersection of public space, public art and public memory in a mural project in the Irish city of Cork. Focussing on the washed-wall murals of Cork's historic Shandon district, we explore the sympathetic and synergetic relationship of this wall art with the heritage architecture of the built environment and of the murals as an expression of and for the local community, past and present. Through the Shandon Big Wash Up murals we reflect on the function of participatory public art as an explicit act of urban citizenship which works to support community-led re-enchantment in the city through a reconnection with its past.

Bogotá arte urbano o graffiti. Entre la ilegalidad y la forma artística de expresión

La investigación sobre el graffiti relacionado con el arte urbano, el diseño y la comunicación visual, la cultura social y política en la ciudad de Bogotá, son temas que concentran esta investigación. Opiniones y entrevistas fueron revelando la influencia sobre la comunidad, la sociedad civil, la política, y el enfrentamiento radical con la leyes, su clasificación y su exigencia según el estrato social han hecho de los espacios públicos de Bogotá una ciudad con paredes hablantes. Aunque no es tomado como algo malo, -para algunos- vandalismo para otros, despierta en muchos, opiniones diversas y sobre todo una subestimada valoración de los artistas hacia una expresión liberal y democrática de un sistema que los aleja de cualquier exhibición del arte tradicional.