This thesis analyzes the ways in which Banksy’s street art installations are used to critique sociopolitical injustices. The street has long existed as a platform for social and political movements. In particular, street art offers unique opportunities for voicing criticisms in pioneering ways that have been proven successful in upsetting normative power structures. Anne Theresa Demo’s analysis on the Guerilla Girls’ comic politics of subversion offers an appropriate conceptual lens to analyze Banksy’s employment of perspectives by incongruity as strategies for subversion. Therefore, this thesis analyzes how Banksy’s subversive satire is rhetorical by examining three techniques that have successfully exposed hegemonic institutions: mimicry, revision, and juxtaposition. Further, I argue that Banksy’s street art gallery, Better Out Than In, utilized these techniques in a global, revolutionary manner to bolster access and widen audience participation. Banksy’s street art both spotlights contemporary injustices and provides a frame to interpret the artist’s critical perspectives. By analyzing the ways in which Banksy uses satire as subversion, this thesis illustrates how visual rhetoric can offer liberation for victims of sociopolitical injustice.

The dissertation studies the features and modes adopted by the street art in urban cultural space. The text presents an analysis of history and contemporary forms of street art in Russia. Through the works of major artists, themes and festivals, the author elucidates characteristic features of Ekaterinburg street art, explores the work of “Sweater” street art gallery and the experience of the All-Russian Street Art Festival “Stenograffia”. Sociological research conducted by the author helps to understand the attitudes of Ekaterinburg’s younger population towards specific street art objects and street art in general. / Диссертация посвящена изучению особенностей и форм проявления street art в культурном пространстве города на примере г. Екатеринбурга. Анализируется история и современные формы street art в России. Через работы значимых художников, темы и фестивали выявляются особенности стрит-арта в Екатеринбурге, исследуется деятельность галереи уличного искусства «Свитер» и опыт проведения Всероссийского фестиваля уличного искусства «Стенограффия». На основе проведенного социологического опроса выявляется отношение молодежи г. Екатеринбурга к отдельным объектам уличного искусства и стрит-арту в целом.

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This project focuses on graffiti art as not an unconstructive form of artwork as society might assume, but a way of coping and establishing an identity for youth mostly males who are searching for who they are.

In settings such as hotels, bars and boutiques, things like cars, sodas, clothes, and cities, are fueled with the symbolic capital of graffiti. The purpose of this ethnographic study is to understand how graffiti writers, through marketing, increase the value of their work, as well as that of other products, and how this commercialization affects the meaning of graffiti.  Utilizing a perspective of social constructionism, the analysis shows how actors and social fields that are constructed as incongruous (e.g., art galleries and graffiti culture), are at the same time being mixed together to create something new, and thus create value. This study shows how practices that are considered marginal, or deviant, at the same time generate value within the general economy. Deploying an abductive approach, and building on ample empirical material, this study shows that the narrative of graffiti as something illegal is one of the main traits that enables graffiti writers to exchange subcultural capital for economic. The results show that previous research, investigating graffiti from a dichotomous perspective of either art or vandalism, do not give a satisfactory understanding of this diverse subculture.   The empirical material consists of 30 participant observations in public events, in Sweden during the autumn of 2014, where graffiti is turned into a commodity embodied with subcultural capital. Moreover, four in-depth interviews were executed with graffiti writers who have sold their competence and art for purposes of marketing, and one group interview with three of their customers. Further, several documents were collected and analyzed.

Esta dissertação tem o objetivo de refletir sobre as práticas de Curadoria Educativa e Mediação da Arte Urbana a partir da observação de suas relações com Instituições Culturais e Educacionais na cidade de São Paulo. Analisamos exposições de Arte Urbana, entre 2009 e 2013, no Museu de Arte de São Paulo Assis Chateaubriand e no Museu Brasileiro da Escultura, os quais, a partir de agora, serão representados pelas siglas MASP e MuBE. Pesquisamos as mostras: De dentro para fora/De fora para dentro e De Dentro e de Fora, no MASP; e as I e II Bienal Internacional do Graffiti Fine Art, no MuBE. As mostras citadas foram escolhidas por se tratarem de exposições de Arte Urbana sediadas em museus. Realizamos também dois estudos de caso, duas propostas de práticas em Arte Urbana, direcionados à educação. A primeira é o trabalho do Eduqativo do Instituto Choque Cultural que mantém projetos como o Linguagens Artísticas: Arte Urbana na Escola, um projeto de Arte Urbana ligado à educação junto às instituições educativas públicas no município de São Paulo. A segunda é um projeto de Arte Urbana, que acontece na Escola Municipal de Ensino Fundamental Deputado João Sussumo Hirata, citada de forma abreviada (EMEF) Dep. João Sussumo Hirata, localizada no bairro Jardim Ofélia, periferia da cidade de São Paulo, que pelo segundo ano consecutivo, realizou o projeto Fazendo Arte no Sussumo, com base na cultura hip hop cujo encerramento é a festa do Grafite no Sussumo, nomeada de Graffitassu. Preocupados com a leitura dessas imagens, trazemos uma discussão sobre o processo de comunicação entre o emissor e o receptor dessas imagens quando estas transitam em diferentes espaços como os institucionais e os públicos, a rua. Com base nos estudos voltados à Educação de Freire, de Vygotsky, de Foucault, à Sociologia de Bauman, Hall, Bourdieu, Badiou, à Arte-educação de Ana Mae Barbosa e à Arte de Rancière, Baudrillard, Cauquelin, temos o intuito de refletir acerca das práticas e abordagens aplicadas por instituições culturais e educativas, de forma social, política e educativa para contribuir com as discussões direcionadas à Arte Urbana quando em diferentes ambientes, visando a Arte-educação. / This paper aims to reflect on the practices, Educational Curating and Mediation of Street Art, from the observation of its relations with cultural and educational institutions in the city of São Paulo. For this, we analyzed Street Art exhibitions that happened at MASP (Museum of Art of São Paulo Assis Chateaubriand) and at MuBE (Brazilian Museum of Sculpture), made between 2009 and 2013. Our focus is on the exhibitions: De dentro para fora/De fora para dentro e De Dentro e De Fora/Inside out Outside in, both at MASP; and the 1st and 2nd International Biennial of Graffiti Fine Art, both at MuBE. The samples cited were chosen specifically as they were exhibitions based in cultural institutions, as our goal is to investigate how this art manifestation has been addressed by the Educational Curating, and how the work mediation was directed to the schools and/or groups that have visited these exhibitions. In addition to this analysis, we conducted two case studies, two proposal practices in Street Art. The first is the work of the Eduqativo of Institute Choque Cultural that, since 2011, keeps projects like the Artistic Languages: Street Art at school, and Street Art project connecting education with the public educational institutions in São Paulo. The second proposal deals with a Street Art project, which takes place at EMEF Dep. João Sussumo Hirata, school located at Jardim Ofélia neighborhood, suburb of Sao Paulo, which for the second year carries the project Making Art at Sussumo, under the guidance of one of the Arts teacher, based on the hip hop Culture whose final event is the Graffiti party at Sussumo, named Graffitassu. Concerned with the reading of the Graffiti images also bring a discussion of the process of communication between the sender and the receptor of the images. Based on studies in Education of Freire, Vygotsky, Foucault, in Sociology of Bauman, Hall, Bourdieu, Badiou, in Art education of Barbosa and in Art of Rancière, Baudrillard, Cauquelin, the last goal of this research is to reflect in a social, political and educational way about the practices and approaches surveyed with a view to contributing to discussions regards Street Art through different environments with the overriding aim of Art education.

Esta dissertação tem como objetivo o estudo sobre a expressão artística e estética dos grafites urbanos, mais especificamente na cidade de São Carlos, tendo como base a contextualização do processo histórico do grafite no Brasil e no Mundo, abordando a sua importância como movimento de cultura, resistência sócio-cultural, veículo de comunicação e obra de arte de rua. Também foram pesquisadas as relações do grafite com o Sanca Hip Hop, evento que ocorre anualmente, desde o ano de 2007, no mês de novembro em parceria com o movimento Negro e o coletivo de Hip Hop de São Carlos. Neste estudo procuramos contribuir para a compreensão das intervenções do grafite - um dos elementos do Movimento Hip Hop - apresentando como instrumento a produção estética na cidade de São Carlos, tendo como um recorte necessário para a amostra dos trabalhos, a pista de skate e imediações do Bairro Santa Felícia e pista de skate e imediações do Bairro Cidade Aracy 2, geradas durante o Sanca Hip Hop e o Pré-Sanca Hip Hop. Os sujeitos da pesquisa são os grafiteiros Bico Madrugas (Danilo Alves Barbosa), Lelin Alves (José Wesley Barbosa Alves), Stan Bellini (Leandro Augusto Bellini) e Spok (Luis Carlos Dias de Almeida), em ordem alfabética, que manifestaram interesse em participar da pesquisa. A metodologia empregada foi a entrevista gravada e depois transcrita com a devida autorização dos grafiteiros: Bico Madrugas e Spok, realizadas em locais diferentes de acordo com a disponibilidade de cada um. A entrevista com os grafiteiros Lelin Alves e Stan Bellini se deram por meio de resposta ao questionário enviado por email, devido os participantes não residirem na cidade. Ainda com relação a entrevistas, algumas questões que surgiram durante a redação do trabalho, foram respondidas através de recurso eletrônico do messenger do facebook. Também foi realizada a análise nas obras que consideramos mais relevantes. Para o embasamento da pesquisa utilizouse o referencial teórico de Lara (1996), Costa (1994, 2000) e Zamboni (2001). / This thesis addresses a study on the artistic and aesthetic expression of urban graffiti in the city of São Carlos. It is based on the historical process of graffiti in Brazil and worldwide and approaches its importance as a cultural movement, socio-cultural resistance, communication means and street art work. It also investigates the relations between graffiti and Sanca Hip Hop, an event held annually in November since 2007, in partnership with the Black and collective movement of Hip Hop in São Carlos. The study aims at contributing to the understanding of graffiti interventions - one of the elements of the Hip Hop Movement by presenting the aesthetic production of São Carlos as a tool. The skate park and vicinity of Santa Felicia neighborhood as well as the skate park and surroundings of Aracy City 2 neighborhood were the sites chosen. They were created during Sanca Hip Hop and Pre-Sanca Hip Hop events. The subjects are graffiti artists Bico Madrugas (Danilo Alves Barbosa), Lelin Alves (José Wesley Barbosa Alves), Stan Bellini (Leandro Augusto Bellini) and Spok (Luis Carlos Dias de Almeida) in alphabetical order, who expressed interest in participating of the research. The methodology used was an interview recorded and transcribed with permission of graffiti artists Bico Madrugas and Spok, held in different places, according to the artists´ availability. The interview with Lelin Alves and Stan Bellini was conducted through a questionnaire sent by email, as the artists do not reside in São Carlos. Some issues arisen were answered by facebook messenger. An analysis of the artework considered most relevant was also conducted. The theoretical framework of Lara (1996), Costa (1994, 2000) and Zamboni (2001) was used as the basis for the research.

This study explored the content, tone and amount of graffiti produced in South African bathrooms in KwaZulu-Natal. Raw graffiti was collected during 2008 from „institutions of higher education?. One of the primary aims of this study was to investigate if gender identities continue to operate in private, anonymous contexts. Politeness theory is utilized as a theoretical framework to generate hypotheses about the direction of influence gender may exert on graffiti if it continues to operate in private contexts. Inscriptions were written down in books. Thematic analysis was then applied, which led to the generation of content categories in content analysis on which chi-squared statistical procedures were applied. The categories were analysed in terms of amount, dominant content and tone, and were stratified in relation to gender. Ecosystems theory was used in an attempt to more holistically understand our sample within the context in which it was created. This study has found that gender had a significant influence on the amount, content, and tone of the graffiti produced. It was found that males dominantly produced tags and political graffiti content, and were more likely than females to produce neutral and negatively toned graffiti. Females produced significantly more graffiti than males and dominantly produced interpersonal content. We hypothesised that our findings were due to gender roles being internalised and continuing to operate in private contexts, especially in contexts where gender is salient, like a bathroom. We argued that the cognitive representation of an inscriber?s gendered audience influences them to behave in gendertypical ways, and in this behaviour their gender is performed, even in the private, anonymous context of the bathroom. / Thesis (M.Soc.Sci.)-University of KwaZulu-Natal, Durban, 2011.

Visuomenė tobulėja, kai jos socialinės grupės turi atviras ir lygias galimybes. Projektinis mąstymas, projektiniai metodai ir projekto veikla tampa vis populiaresnė. Socialiniai projektai – tai gera galimybė planuoti, organizuoti ir sisteminti veiklą, vertinti rezultatus ir analizuoti klaidas ir įgyti patirties. Socialinių meninių projektų veikla yra naudinga darant įtaką kultūriniam gyvenimui, vykdant socialinius meninius projektus, naudojant gatvės meną kaip metodą. Viena iš prevencinės veiklos būdų yra mokytis gatvės meno, nes ji yra artima visuomenei ir vystėsi iš gatvės kultūros. Ši veikla ypač yra artima jaunimo tarpe, nes hip hop‘o kultūra buvo kultivuojama gatvėse, kur buvo aktualios socialinės – ekonominės problemos. Kai jaunimas dalyvauja socialiniuose meniniuose prfojektuose ar propoguoja gatvės meną, jau automatiškai vykdo prevenciją. Kuo didesnis užimtumas, tuo mažiau vykdoma neigamos veiklos. Analizuojant prevencinės veiklos organizavimą ir jos tobulinimą, gatvės menas ir gatvės meno reikšmė parodo gatvės meno socializacijos aktyvinimo problemą ir yra keliamas klausimas – kaip turi būti organizuojama prevencinė veikla, taikant gatvės meną kaip metodą ar įrankį.Tyrimo tikslas: ištirti prevencinės socialinio darbo veiklos plėtotės, taikant gatvės meną, galimybes. Uždaviniai: 1. Išanalizuoti prevencinės veiklos organizavimą socialinio darbo kontekste. 2. Išnagrinėti gatvės meno socialinius ir prevencinius aspektus. 3. Atlikti gatvės meno taikymo prevencinėse... [toliau žr. visą tekstą] / Society improves, when its social groops have open and equal opportunities. Project thinking, project methods and project activities become more and more popular. Social projects – it is a good opportunitie to plan, organise and systematize an activity, to value results and analise mistakes and also to gain some eksperiense. Art and social projects activities ar useful doing influence to cultural life, forming art space and involving organization of prevention. In nonformal activitie when doing social and art projects, its might be tought street art. One of prevention activities ways is to have a look at street art , which came through street culture. This activitie is very close to young people groops – hip hop subculture was created and cultivated in the streets, between the youth whitch has social – economical problems. When youth is involved in street culture or participated in social and art projects, they automatically do prevention. The bigger is busyness, the less people do something, what is not acceptable to society. Analyzing prevention activities organizing and making updates, street art and the need of street art, it shows a problem of street art socialization activation and it is made a question – how has to be organized the prevention activitie, applying street art as method or tool. The aim of the thesis: investigate social work opportunities of prevnetion, by invoking street art. The objectives of the thesis: 1. Analyze the organisation of prevention... [to full text]

[pt] O objetivo deste trabalho é fazer uma análise da influência e uso do design gráfico em alguns dos projetos desenvolvidos no movimento de arte urbana dos últimos dez anos. Este estudo possibilitou gerar material de pesquisa sobre a arte urbana para futuros trabalhos que conectem arte de rua e o design gráfico, assim como identificar como estes artistas incorporam conceitos do design em seus projetos. A partir deste levantamento foi possível observar ainda de que forma esta prática contribuiu para a propagação do movimento artístico e vice versa. Para que a proposta do estudo fosse alcançada foi feito um levantamento histórico das origens do movimento artístico urbano e uma pesquisa de campo para compreender o estágio atual da arte de rua. Foi ainda realizado um estudo de caso do cartaz criado por Shepard Fairey para a campanha presidencial dos Estados Unidos para exemplificar uma das formas em que o design gráfico dialoga estreitamente com a street art, confirmando assim a conexão entre ambas as práticas. / [en] The objective of this study is to analyze the influence and use of graphic design in some of the projects developed in the urban art movement of the last ten years.This study enabled us to generate research material on urban art for future studies that connect street art and graphic design, as well as identify how these artists incorporate design concepts in their designs. From this survey it was also possible to observe how this practice has contributed to the spread of the artistic movement and vice versa. For that the purpose of the study was achieved was made a historical survey of the origins of the urban art movement and field research to understand the current state of street art. It also conducted a case study of a poster created by Shepard Fairey for the U.S. presidential campaign to illustrate one of the ways in which graphic design dialogues closely with street art, thus confirming the connection between both practices.