Currents, Vol.3, No.5 (Nov.5, 1984)

Susan Silvernail to Direct Summer Session--Subway Art in Gorham: Subway Photographs by Christopher Barnes--World Food Day Observed--Another Political Poll--A Mystifying Process (Gordon Hutton)--Creative Child Care For 21st Century--Campus Center Updatehttps://digitalcommons.usm.maine.edu/currents/1193/thumbnail.jp

Grafiti y Arte Urbano

El presente trabajo tiene como propósito realizar un recorrido a lo largo de la historia del grafiti y el arte urbano. En este recorrido mencionamos los artistas y ejemplos más importantes, para después analizar más detenidamente la segunda mitad del siglo XX

A Change of Face: Using Graffiti to Re-Imagine Spaces

In much of the literature graffiti is connected to notions of defacing, devaluing, vandalising, participating in an illegal activity or exhibiting ‘anti-social behaviour.’ The aim of this paper is to show the change of perceptions toward graffiti as less of an act of vandalism or a criminal activity and more of a solution to many social and political concerns. The paper offers a way to reframe graffiti as the solution rather then the problem based on a study of graffiti crews in Sofia, Bulgaria. The paper presents three cases of these crews, each attempting to address different social and political issues within the capital of Bulgaria. This paper is hoping to highlight how graffiti can be used as a tool to help reduce crime, showcase a critical subcultural communication that is inclusive of the community at large, and depict the aesthetic value that can be added to a place in order to re-design the space and people’s attitude and behaviour. More importantly, the paper serves to show how graffiti can enable introspection and bring out not only the ‘soul’ from the wall, but also our own

Bombing, Tagging, Writing: An Analysis of the Significance of Graffiti and Street Art

A first look upon a well-contrived piece of graffiti or street art may inspire feelings of surprise, delight, and amusement, but the connection between graffiti and cultural heritage might be more difficult to perceive. Conventionally, graffiti was synonymous with vandalism, associated with a subculture that needed to be extinguished immediately. However, with the works of such artists as Basquiat, Keith Haring, Banksy, Steve Powers, and the like, graffiti began to be recognized as something more than crime – something with far more value, something that could reach beyond the walls of a gallery. Indeed, this subculture has since proliferated exponentially, and with its popularity a closer connection to heritage becomes more apparent. Though it may be a more radical and alternative way of creating heritage, its increasing recognition suggests that such cultural values are clearly demonstrated

Arte Urbano: del Grafiti al Street Art.

El siguiente trabajo analiza el desarrollo del arte urbano hasta la actualidad. En un principio, el término principal que se utilizaba para denominar cualquier acción artística dentro de la vía urbana era el de “grafiti”. El movimiento surge, paralelamente, en la década de los 60 en dos continentes diferentes, América y Europa. La primera escena aparece en Estados Unidos, concretamente en Filadelfia, y el primero en estampar una firma en una pared es Cornbread. En los 70, el movimiento se propaga a Nueva York donde aparecen nuevos artistas y con ellos, nuevos estilos y soportes para realizar grafiti. La gran cantidad de artistas que se involucran con esta práctica causa dos acontecimientos muy importantes: la guerra de estilos y el subway art. Phase 2 es el artista más representativo de estos años por ser el precursor de distintos estilos como el wild style. La segunda escena aparece en Francia, concretamente en París, donde el grafiti se realiza con la técnica de la plantilla y con el objetivo de trasmitir un mensaje usando recursos como la ironía o el humor. A partir de los 80, instituciones museísticas y galerías se interesan por el fenómeno artístico del grafiti, creando un impacto mediático. Tras las primeras exposiciones en Nueva York, las galerías más importantes de Países Bajos e Italia decidieron importarlo a Europa. Así, el grafiti y sus creadores obtuvieron el reconocimiento artístico de la época. En los 90, después de instalarse en Europa, algunos artistas comenzaron a mezclar las técnicas de grafiti de ambos continentes con otros movimientos contraculturales de la calle, creando el Street Art. Del fruto de la innovación, nacieron distintos métodos de creación en la vía urbana que no pueden ser considerados grafiti, de ahí que sean denominados como arte urbano. El stencil, los carteles o la jardinería de guerrilla son algunos de los ejemplos de las prácticas urbanas conocidas hasta la actualidad

Las leyes del Hip hop, normas no escritas de una cultura definida

La cultura Hip hop es conocida como un mundo marcado por el egocentrismo y la banalidad material excesiva. La gran mayoría de prejuicios creados alrededor de este movimiento cultural se sustentan en la reflexión de que este entorno es, en apariencia salvaje, violento y dañino. En muchas ocasiones, mal interpretando términos o confundiendo actividades, los escritores de Graffiti han sido tachados de vándalos; los raperos han sido vistos como personajes de actitud dura y léxico vulgar o inapropiado; y los bboys y bgirls son conocidos como bailarines acrobáticos que realizan complicadas piruetas en la calle. Desde la aparición de esta cultura en los medios de comunicación muchos estudios han procurado relevar las verdaderas ideas de la cultura Hip hop. Fuera del entorno académico uno de los ejemplos de cultura Hip hop más recientes es la serie de Netflix Get Down. Esta serie cuenta su argumento principal dentro de la primera época de la esta cultura urbana. Detrás de la imagen mostrada a través de videoclips y reportajes se esconde todo un entorno cultural con ideas y códigos de actuación propios. Estas normas, desconocidas en su mayoría para el público, se transmiten todavía de forma oral. Los escritores de Graffiti de Nueva York poseen unas normas de convivencia y actuación entre ellos. En España el escritor Muelle creo la idea de La firma sin gasto, idea que se basa en el principio de realizar graffitis donde no molestaran o no supusieran un gasto para la población. La máxima expresión de estas normas es La declaración de la paz de la Cultura Hip hop, escrita por KRS One: Dieciocho leyes que resumen las intenciones y directrices de este movimiento cultural. Este documento ofrece consejo y dirección a las personas que se acerquen a este entorno

Ephemeral art in impermanent spaces: the effects of street art in the social construction of public space

This article sets out to show how the production and practices of street art in Lisbon have strong effects on what concerns the creation of images of the city – in its marketable consequences – and the promotion of discourses about the urban public space and its structures. Because street art displays a very particular relation with the urban space, the research on the dynamics that its practice and production create with the actors and institutions that shape the cities, show that it has an active role in creating images of the city, as well as proposing discourses about its public space. This article results from a research on street art and its implications in the social construction of public space, from the urban context of Lisbon. Within this research, street art is conceived as an art world in formation, specific as it exists in-between an underground practice and a full participation in the contemporary art world and its markets.info:eu-repo/semantics/acceptedVersio

The hip-hop aesthetics and visual poetry of Wayde Compton’s performance bond : claiming black space in contemporary Canada

Wayde Compton’s poetry collection Performance Bond is a union of hip-hop aesthetics and visual poetry to create a space for Vancouver’s black community. Although the majority of the poems in Performance Bond are lyric, visual poems have a significant and varied presence in the book. Compton creates his visual poetry by including such materials as photographs and signs, concrete poetry and pseudo-concrete poetry, graffiti, a simulated newspaper facsimile of an original Vancouver Daily Province article, voodoo symbols, and typed characters that do not necessarily form words. Despite a contemporary population of over two million people, the greater Vancouver area of today does not have a centralized black community similar to that found in other North American cities like New York, Chicago, Los Angles, Toronto, or Halifax. To reconcile the absence of a centralized black community in Vancouver, Compton turns to sampling black culture from across the world (with an obvious concentration on the United States) in order to develop and represent his own black identity. The similarities between visual poetry and hip-hop culture, particularly their emphasis on spatial representation, facilitate Compton’s continuing project to create a place for the black community in Vancouver

Optical Transmissions

Artist Statement My art is deeply rooted in graphic design. Along the way I have experimented in block printing, screen printing, and painting. I use highly saturated colors and patterns to create optical illusions. One major influence on my work is the Op Art movement from the 1960s. From Op Art I take the ideas of how color and shape can work together to create visual effects. Music is another influence on my work. I try to create rhythms and the illusion of pulsating beats, visually. I want there to be a sensation of movement within the work where some parts of the artwork appear to advance and other parts to recede. My goal in art is to evoke a sense of visual excitement in the viewer through the use of color, shape, and pattern

Fotograffiti: fotolivro como veículo de comunicação

PCC (graduação) - Universidade Federal de Santa Catarina. Centro de Comunicação e Expressão. Design.Trata-se do relatório técnico-acadêmico do projeto de Design Editorial desenvolvido para a conclusão do curso de Bacharelado em Design. O produto projetado foi o fotolivro, intitulado “Fotograffiti: Fotolivro como veículo de comunicação”, que registra as fotos de graffitis das cidades de São Paulo e Florianópolis. Para orientar a projetação do produto gráfico-editorial, foi adotada e adapatada a metodologia proposta por Luciano de Castro, que é estruturada em três etapas: (1) Absorção; (2) Constituição, e (3) Produção. Durante o desenvolvimento do projeto para a criação do produto como um fotolivro, buscou-se recursos gráficos para expressar a identidade visual da cena do graffiti em cada cidade, especialmente, por meio das fotos e disposição das mesmas nas páginas. Foram exploradas também práticas diferenciadas de produção gráfica, como impressão em serigrafia e tradicional digital, além do uso de papéis especiais. Um dos objetivos do projeto, é que o contato com o produto propicie uma experiência narrativa fotográfica com contrapontos, estimulando a leitura da obra seguindo uma narrativa fotográfica com tema definido