De nombreuses œuvres plastiques sont nées d'une réflexion théorique et pratique influencée par les questions politiques et sociales. Hormis des différences dans les procédés utilisés, elles sont fédérées par un esprit de rébellion et de contestation. A travers l'examen des rapports entre l'art et la culture populaire, le street art et les phénomènes socio-critiques dans la société de consommation, notre sujet est organisé sur trois axes en quatre parties. Notre intention première va montrer que les artistes modernes ont découvert la valeur artistique des graffitis et de certaines expressions anonymes inscrites sur les murs avec un caractère intellectuel. Ensuite, nous explorerons le sujet dans la perspective de la culture populaire, du regard critique sur l'époque, et de certains critères plastiques qui ont eu de l'influence sur les street artistes en France. Enfin, dans les troisième et quatrième parties, nous étudierons les querelles posées quant à la fonction sociale de l'œuvre d'art, le rôle de l'artiste, le problème éthique de l'artiste, et la valeur artistique véritable dans la culture industrielle et l'art commercial, en déroulant le panorama des activités des street artistes. C'est sur le fondement de cette hypothèse que nous nous sommes posé la question des contenus sociaux/critiques de ce street art et de ses rapports avec la sphère socio-critique qui, lui, est une représentation de l'ère contemporaine. Quant aux deux axes de « la valeur artistique » et de « l'acte rebelle », traitant de la modernité propre à l'art contemporain et des rapports qu'elle entretient avec la vision critique, ceux-ci fondent le mouvement street art, le caractère rebelle ou activiste de cet art et son approche critique du monde de l'art ou de notre société étant indispensables à sa survie en tant que tel. Les méthodologies visent à analyser et à critiquer l'influence politique et sociale de l'image de telle sorte qu'elles permettent de réfléchir sur le champ pratique et théorique de notre étude. / Many plastic works were born from a theory and practice influenced by political and social issues. Apart from differences in the methods used, they are united by a spirit of rebellion and contestation. We examined the relationship between art and popular culture, street art and socio-critical phenomenon of this period. Our hypothesis is that this relationship can be defined by the concept of street art, understood as an artistic practice whose connotations are both aesthetic and social a critique and order. It is on the basis of this hypothesis that we questioned the social content / critique of street art and its relationship with the socio-critical sphere which is a representation of the contemporary era. Our first intention was to show, through the graffiti testimony that the modern artists discovered the artistic value of graffiti and some anonymous registrant walls with intellectual expression. Then, this part concerns the prospect of popular culture, critical look at the age and plastics criteria that have had an influence on the street artists in France. Finally, the third and fourth parts deepen the street art movement that became the graffiti art in the history of contemporary art. We study the quarrels offered by the social function of works of art, the ethical problem of the artist's work social function, role, and real artistic value in the industrial culture and commercial art, unrolling a panorama of street artists activities. The two axes of “the artistic value” and “rebellious act”, dealing with contemporary art and its relationship with its critical vision of modernity, those are the foundation of the street art movement, which activist and rebel practice, as an art, and a critical approach towards the art world or our society are essential to its survival as it is. This subject will therefore give us the opportunity to question the true art in our society, a consumer society. Any image that is concerned with the meaning of the pictorial discourse is contentious and feeds on cultural and political antagonisms.

Nas duas últimas décadas, o graffiti se impôs como um elemento visual das metrópoles brasileiras. Passou a povoar a rotina urbana e, num embate por espaços, vem disputando a visibilidade pública com as cores dos edifícios, as placas de sinalização e outros elementos da comunicabilidade urbana. E o faz mudando a sua proposta e original essência. Este trabalho procura documentar a trajetória do graffitti de meados da década de 1960 até às vésperas da conclusão da pesquisa, em 2011, acompanhando a sua transformação \"do subversivo ao consagrado\". Através da narrativa visual pontuada por uma seleção de 400 fotografias de autoria do pesquisador, destaca-se, em especial, a cidade de São Paulo, onde o trabalho dos grafiteiros vem despertando interesse mundial e não apenas entre adeptos, simpatizantes e editoras especializadas. O graffiti tem sido um interessante campo de estudo para críticos de arte, antropólogos, semiólogos, etc., porém, é na visualidade urbana que tem o maior impacto. / In the last two decades, graffiti has established itself as a visual element of the metropolis in Brazil. It became part of the urban routine, and in a dispute for space has been struggling for public visibility with building colors, traffic signs and other elements of urban communicability. And it does so by changing its intent and original essence. This paper seeks to document the trajectory of graffiti from the mid 1960s to the conclusion of the research, in 2011, following its transformation \"from subversive to acclaimed\". By means of a visual narrative marked by a selection of 400 photographs taken by the researcher, the city of São Paulo is emphasized, where graffiti is attracting worldwide attention and not only among supporters, sympathizers and specialized publishers. Graffiti has been an interesting field of study for art critics, anthropologists, semiologists, and scholars in general, but the greatest impact of this street art is on the urban scene.

While graffiti is revered as an art form to some, it is often seen as an unwanted nuisance by others. While vibrantly rich in history, graffiti has a controversial past, present, and future that will likely continue to be the subject of debate, especially with the insurgence of street art, an art form that often overlaps graffiti art in subject matter, media, aesthetic appearance, and placement as a public form of art. Distinguishing between street art and graffiti art proves quite challenging to the undiscerning eye, yet through a series of interviews and thorough investigation, I questioned the contexts of street art and graffiti art. By introducing non-traditional forms of art that are engaging to adolescent students, street art and graffiti art can expand the secondary art curriculum by helping students become more cognizant of current social, visual and cultural aesthetics in their own visual world.

This thesis investigates the relationship between Haring's artwork and its display as it influences the viewer's perception and interpretation.

Thesis (B.F.A.)--Pennsylvania State University, 2009. / Mode of access: World Wide Web. Thesis supervisor: Rosa A. Eberly.

Thesis (Ph. D.)--UCLA, 2008. / Vita. Description based on print version record. Includes bibliographical references (leaves 329-334).

The cultural performance of textile graffiti, or yarnbombing, dramatizes women’s contested relationship to the public/privates dichotomies that constitute neoliberal capitalism as well as liberal democracies. Across both of these institutions, privatized matters are problematically excluded from political consideration, and private sphere values—such are nurturance, interdependence, and communalism—are denied their necessity and legitimacy as public goods. Textile graffiti artists furnish an association between public and private life by placing signifiers of domesticity and caregiving onto the public streets, and adorning those nurturant signifiers with political and/or feminist messages. In so doing, textile graffiti functions to politicize caregiving, to highlight its gendered dimensions, and to remind city-goers of caregiving as a public issue and a public good that is necessary to the overall health of a functioning liberal democracy. This study explores textile graffiti from various political, aesthetic, and historical angles in order to situate it within an enduring feminist struggle to re-imagine public/private binaries through valorization of the artifacts, values, and communicative practices that are associated with the private sphere of the home.

This thesis traces the transformation of graffiti as it travels from the street to the art institution by closely examining the graffiti and installations of Barry McGee ("Twist"). As a graffitist-turned-artist, McGee looked to his environment and experiences for his art, incorporating the language of graffiti into his installations. They exhibit what I describe as his ethnography of graffiti because he creates them from his unique position as a graffiti writer, representing graffiti as both an aesthetic expression and established youth culture. In order to explain this re-mediation of graffiti, the thesis aligns McGee's works with the sculptural tableaus of Edward Kienholz to emphasize his use of the narrative to bring the audience into both the aesthetic and the social world of graffiti.

Made available in DSpace on 2014-06-11T19:22:29Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-06-29Bitstream added on 2014-06-13T20:27:36Z : No. of bitstreams: 1 andriani_bc_me_ia.pdf: 2743782 bytes, checksum: fd4bf7871fa96a94c6fc4d66b9ab6746 (MD5) / Universidade Estadual Paulista (UNESP) / A Arte de Rua se tornou uma forte manifestação cultural ao longo dos últimos trinta anos, elaborando uma linguagem própria e se estabelecendo no mercado artístico. Contudo, o reconhecimento deste tipo de prática enquanto arte ainda é paradoxal, pois tange diversos pontos problemáticos nas relações sociais. A intervenção chega aos olhos do espectador sem pedir permissão, insere-se no contexto urbano quase que naturalmente, e em alguns casos chega a se camuflar como se já fosse parte da arquitetura. Seja qual for a sua base estética, a intervenção urbana alcança um vasto espectro de espectadores, mesmo que eles não queiram. O que se pretende nesta dissertação não é catalogar de forma cartesiana os diversos estilos encontrados nas ruas, mas sim refletir acerca desta prática, sobre seu funcionamento, seus desdobramentos, em uma leitura mais densa e tanto quanto possível objetiva / Street Art became a strong cultural manifestation during the last thirty years, creating a personal language and establishing itself into the art market. However, recognizing this practice as an art form is still a paradox. The intervention comes to the viewer's eyes without permission, inserts itself almost naturally into the urban context, and in some cases camouflages as it was already part of the architecture. Whatever the aesthetic bases are, the urban intervention reaches a huge specter of viewers, even if they don't want to. What is intended in this work is not to catalogue the different styles found in the streets in a Cartesian way, but supply a denser and as possible objective reading about this practice and also reflect about hot it works and unfolds

My diploma thesis is working with Sudeten question. I made audiobook from chronicle of village Větrov. it was written between years 1945-1952.