Thesis (Ed. D.)--Illinois State University, 1973. / Title from title page screen, viewed Oct. 13, 2004. Dissertation Committee: Hugh W. Stumbo (chair), Jack Hobbs, Wilbert M. Leonard II, Max Rennels, Thomas McCain, Mildred Pratt. Includes bibliographical references (leaves 92-94) and abstract. Also available in print.

Thesis (Ph. D.)--UCLA, 2009. / Vita. Description based on print version record. Includes bibliographical references (leaves 273-284).

This diploma thesis deals with a wide field of performing arts in the public space, the so-called busking, in relation to two main lines of thought - partly to the barriers for implementation of activities, across cities; second, to the cultural development policies within the region. Collected theoretical knowledge and practical experience (eg from historical development of urban communities, studies of numerous legislative documents, cultural development policies, the author's own research, numerous observations and interviews with the artists themselves and with representatives of institutions across the world which are setting up standards, analysis of obstacles to the implementation of activities in public space and more) which the author converts first in comparison of two cities - Prague in the first place, and London with a model approach to artistic activities in public space in the second, and than in a series of specific recommendations for the creation of a standard, strategy and related legislation leading to the implementation of measures related to the topic of this diploma thesis within the capital city of Prague. The author works on the assumption that performing arts do belong to the public space, as they have the potential to improve the quality of life, to educate the people and substantially increase their creativity, to develop the potential of sites, to reduce crime, to generate economic multiplication and more.

This thesis looks at illegal public art produced on state built barrier walls. The focus is on the artist Ron English, and his artworks produced on the Berlin Wall, Israeli Barrier Wall, and Mexican Border Fence. I examine English’s works in their respective contexts of Cold War divisions, the Israeli/Palestinian conflict, and tensions at the border between United States and Mexico. I also situate English’s works in relation to other artworks produced on these barriers. I argue that English is doing something different from other barrier wall artists in his work in Palestine and Mexico, offering a framework for understanding the primary motivations and tactics behind barrier wall art and highlighting English’s unique contributions.

Made available in DSpace on 2014-06-11T19:22:29Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-09-11Bitstream added on 2014-06-13T18:49:18Z : No. of bitstreams: 1 rodrigues_lj_me_ia.pdf: 2616524 bytes, checksum: ab1c026c104bee80499e45fa6858518a (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Surge com o objetivo de analisar uma nova modalidade de street art que aparece em placas, muros e diversos outros suportes, na cidade de São Paulo, o sticker. Apoiada na teoria de Herbert Marcuse, o filósofo da contracultura, e em estudos sobre todas as manifestações que circundam o objeto, como a arte urbana, o graffiti, a pixação e a colagem, essa dissertação traz informações básicas sobre o que é um sticker e suas inúmeras formas de composição e apresentação, além de recortar histórias de artistas precursores do stiker, como Tadeu Jungle, e alguns artistas atuantes da prática nos dias de hoje. Ao contextualizar o tema proposto, a vivência sobe a prática de colar sticker se faz presente na experiência pessoal descrita no último capítulo, que apresenta desde a elaboração de um sticker até a saída para a colagem, englobando todo o processo que compõe a manifestação. / It arises with the aim to analyze a new modality of street art, the stiker; shown in street boards, walls and many othetr structures in the City of São Paulo. Based on the theory of Herbert Marcuse, the counterculture philosopher, and on studies of all manifestations that surround the object, like Urban Art, Graffiti, Urban Calligraphy and Collage, this dissertation brings basic information on what is a Sticker and its numerous forms of compositions presentation, beside approaching the forerunners, like artist Tadeu Jungle, and some other artists practicing this same technique today. In order to contextualize the pproposed theme, the experience over the practice of sticking is described on the last chapter, from the moment of designing a sticker until the act of placing it on the streets, covering the whole process that composes the manifestation.

Orientador: Omar Khouri / Banca: Paula de Vincenzo Fidelis Belfort Mattos / Banca: Milton Sogabe / Resumo: Surge com o objetivo de analisar uma nova modalidade de street art que aparece em placas, muros e diversos outros suportes, na cidade de São Paulo, o sticker. Apoiada na teoria de Herbert Marcuse, o filósofo da contracultura, e em estudos sobre todas as manifestações que circundam o objeto, como a arte urbana, o graffiti, a pixação e a colagem, essa dissertação traz informações básicas sobre o que é um sticker e suas inúmeras formas de composição e apresentação, além de recortar histórias de artistas precursores do stiker, como Tadeu Jungle, e alguns artistas atuantes da prática nos dias de hoje. Ao contextualizar o tema proposto, a vivência sobe a prática de colar sticker se faz presente na experiência pessoal descrita no último capítulo, que apresenta desde a elaboração de um sticker até a saída para a colagem, englobando todo o processo que compõe a manifestação. / Abstract: It arises with the aim to analyze a new modality of street art, the stiker; shown in street boards, walls and many othetr structures in the City of São Paulo. Based on the theory of Herbert Marcuse, the counterculture philosopher, and on studies of all manifestations that surround the object, like Urban Art, Graffiti, Urban Calligraphy and Collage, this dissertation brings basic information on what is a Sticker and its numerous forms of compositions presentation, beside approaching the forerunners, like artist Tadeu Jungle, and some other artists practicing this same technique today. In order to contextualize the pproposed theme, the experience over the practice of sticking is described on the last chapter, from the moment of designing a sticker until the act of placing it on the streets, covering the whole process that composes the manifestation. / Mestre

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-11-01T10:20:12Z No. of bitstreams: 1 brunatostesdeoliveira.pdf: 14233620 bytes, checksum: 0e4c22065a8d3d80b56a4f4b74b4edac (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-11-09T14:13:05Z (GMT) No. of bitstreams: 1 brunatostesdeoliveira.pdf: 14233620 bytes, checksum: 0e4c22065a8d3d80b56a4f4b74b4edac (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-11-09T14:14:03Z (GMT) No. of bitstreams: 1 brunatostesdeoliveira.pdf: 14233620 bytes, checksum: 0e4c22065a8d3d80b56a4f4b74b4edac (MD5) / Made available in DSpace on 2017-11-09T14:14:03Z (GMT). No. of bitstreams: 1 brunatostesdeoliveira.pdf: 14233620 bytes, checksum: 0e4c22065a8d3d80b56a4f4b74b4edac (MD5) Previous issue date: 2017-03-31 / Esta dissertação apresenta como tema de pesquisa um olhar sobre os modos de subjetivação de sujeitos que produzem e são produzidos por imagens efêmeras nas superfícies da cidade. Estrategicamente, a leitura dessa pesquisa é atravessada pelos modos de subjetivação e de dessubjetivação da própria autora e sua relação com a cidade onde habita. Através de narrativas que evidenciam suas experiências e suas inquietações, ela segue problematizando o sentido e pertencimento de imagens urbanas, como aquelas que sobrevivem em paisagens e que parte dos sujeitos sociais não as reconhecem. Partindo de acúmulos de marcas e inscrições que habitam a arquitetura urbana, tornadas “invisíveis” para seus habitantes, o trabalho explora arte e educação como campos de reflexão e ampliação dos gestos deixados pelos corpos. Dentre essas marcas são investigadas as seguintes noções sobre pichações e grafite, sobre o modo de ocupação e interação com a cidade. Por um viés pós- estruturalistas, esta pesquisa não objetiva a um resultado preciso sobre os conceitos que acercam essas duas manifestações urbanas, ao contrário, dispõe-se a ampliar olhares e vozes, no sentido de problematizar os nossos processos de subjetivação e nossas relações junto a elas. Contudo, os caminhos teóricos –metodológicos presentes nessa pesquisa são aqueles que se aproximam das discussões sobre experiência, identidade e diferença, modos de subjetivação e cultura visual. O locus da pesquisa passa por um emaranhado caminho entre escolas, casas noturnas, oficinas. / This dissertation presents as a research theme a look at the modes of subjectivation of subjects that produce and are produced by ephemeral images on the surfaces of the city. Strategically, the reading of this research is traversed by the subjectivation and desubjectivation modes of the author herself and her relationship with the city where she lives. Through narratives that show her experiences and her concerns, she continues to problematize the meaning and belonging of urban images, such as those that survive in landscapes and that part of the social subjects do not recognize them. Starting from accumulations of marks and inscriptions that inhabit urban architecture, rendered "invisible" to its inhabitants, the work explores art and education as fields of reflection and amplification of the gestures left by the bodies. Among these brands the following notions about graffiti and graffiti on the mode of occupation and interaction with the city are investigated. By a post-structuralist bias, this research does not aim at a precise result on the concepts that approach these two urban manifestations, on the contrary, it is prepared to widen looks and voices, in the sense of problematizing our processes of subjectivation and our relations together Them. However, the theoretical-methodological paths present in this research are those that approach the discussions about experience, identity and difference, modes of subjectivation and visual culture. The locus of research goes through a tangled path between schools, nightclubs, workshops.

I detta arbete har jag undersökt vilka möjligheter och metoder som finns för att skapa konst i utemiljö. Hur kan skapande i offentlig miljö utföras inom skolan? Vad går att göra med hänsyn till olika regler och lagar? Syftet med studien är att synliggöra tillvägagångssätt för skapande i offentlig miljö som kan utföras som platsspecifikt görande tillsammans med elever. Empirin består av flera olika delar; en intervjustudie, litteraturstudie och dokumentation från konstnärlig forskning. Som komplement till detta undersöks telefonsamtal och mejlkorrespondens med olika företag och myndigheter. Den konstnärliga forskningens empiri består av en skriftlig och en visuell dokumentation från när jag prövat olika praktiker som gatukonst eller land art, och undersökt skapandeprocessen genom mitt eget görande. Dessa experiment är gestaltningar i sig själva, men fotodokumentation från dessa försök ligger till grund för gestaltningen som visades på Konstfacks vårutställning. Där sammanställs de olika försöken och sorteras i två olika grupper, lagliga metoder eller olagliga. Resultatet av projektet visar att det trots den juridiska gråzonen kring skapande i utemiljö finns goda möjligheter att genomföra undervisning lämplig att genomföra tillsammans med elever i skolan, med hjälp av flera användbara metoder från land art och gatukonst. Gestaltningen visar fotodokumentation på några av dessa möjliga metoder och kan även användas som diskussionsunderlag tillsammans med elever.

Mural art and its development in Czech republic This work deals with mural art as street art discipline. It briefly describes the development of muralism into the 20th century. Subsequently, he deals with the development of street art from the arrival of graffiti to the present, with the main emphasis being on mural art. The main part of the text shows this development in the Czech Republic, mentions the leading personalities of the Czech mural art scene and then maps its main centers and presents concrete examples of murals. Keywords Mural art, street art, graffiti, public space, Czech republic, art, Kaláb, Prague

Drawing from de Certeau (1984), in this thesis I investigate graffiti and street art as part of the everyday visual landscapes. The city of Stockholm has gone from zero tolerance towards all forms of street art to now including the art form as a strategy for creating a so-called attractive city. In this thesis, I aim to examine street art and graffiti in relation to Stockholm´s mobile landscapes. The theoretical framework builds on mobility and landscape theory. I argue that if we are to better understand the world we live in, the concepts of mobility must be understood both in terms of its physical and social implications (Cresswell, 2006). Using a qualitative approach, interviews, document analysis, and ethnographic methods have been used to gather data. By analysing discourses and statements by artists, officials, and housing companies, I demonstrate how graffiti and street art moves between different expressions in Stockholm. Furthermore, I discuss the perspectives of artists who are engaged with their bodies to produce the visual landscape we live in, and how their bodily mobilities affect the outcome of the landscape of Stockholm. I argue that there is a paradox between mobility and immobility in the use of street art to create safe environments. The positioning of these concepts as opposites reveals how Stockholm stad and housing companies use the mobile in graffiti and street art, to create something static, attachment to place. This thesis thereby contributes to the societal and academic debate concerning mobility and the understanding of how the visual landscape is created.