FEJTOVÁ, Klára. Graffiti and street art, their's socioculturals and art's contextes. Prague, 2013. Thesis. Charles University in Prague, Faculty of Education, Department of Fine Arts. Supervisor PhDr. Jan Šmíd, Ph.D., 232 pages.(Appendices: 3 plastic objects) In my diploma paper, I attempted to map the origins and evolution of graffiti and street art. Their possible starting point, sources of inspiration and connection to art throughout history and the present day. I have also mentioned the overlapping into and use in advertising, contemporary art and design. I have briefly dealt with the socio-cultural influence and its connection to this form of art. In the theoretical part of my paper, I devoted my attention to new trends in graffiti and street art. In the didactic part, I used specific ecological trends to create art series. Through this I linked art and environmental education and verified that students in the specific group are interested in incorporating this topic into their curriculum. A part of the is a research survey which shows the opinions and principally confirmed the interest of students in the specific group in this topic.

The diploma thesis as a whole deals with the topic of tracks in contemporary art. It is divided into three parts. Theoretical, didactic and practical part. In the theoretical part, I first define what a track means to me and I apply this definition when searching for tracks in the works of contemporary artists. The theoretical part of the work includes an interview with Patrik Proška, an artist creating some of his works in public space. In the didactic art project, created for high school students, the topic of tracks is viewed somewhat more freely. The main goal of the thematic unit is to lead students to think about tracks through their own artistic activity. Based on the experience gained, they should be able to think about the transience of the tracks, the meaning of our legacy and the consequences of our existence. I especially focus on the art area related to land arts and street art or graffiti. The practical part is the result of my reasoning about the tracks left in public space. I established my reasoning on the knowledge gained in the theoretical part. The result is a set of author's books that document my thoughts on the tracks found or created. I focused my attention mainly on the human desire to leave their tracks in the public space. KEY WORDS track, public space, art, land art,...

This thesis describes the street art culture of Chile and its power in art education. The thesis highlights the didactic questions what, how and why. With the Swedish art curriculum in upper secondary education (Skolverket, 2011) as a starting point, the following research examines what topics street artists in Chile address in their work; and how and how can educators in Sweden use street art in the classroom when they wish to highlight topics such as communication, identity and democracy, and with what purpose. The implementation of the study is based on a method of qualitative research. Semi structured- as well as informal interviews are used. Observation in form of visual field notes is presented through photography. This results in four different themes that is highlighted. The themes are cultural heritage, artivism and democracy, identity and school. The conclusion regarding what benefits street art may serve in school are that Swedish teachers in upper secondary art education can benefit from using street art in the art classroom when they wish to highlight the communicative aspects of street art. Another conclusion being made is that Chilean street artists use street art as a communicative tool when they wish to highlight topics such as cultural heritage, political views and as an identity marker.

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Abstract  The purpose of this essay is to examine the role of street art in modern cities. In order to explore this we’ve chosen Berlin as our case study, particularly the districts Friedrichshain, Kreuzberg and Prenzlauer Berg. Our chosen method is ethnography. The theoretical perspectives we’ve chosen that allow us to gain a deepened understanding of the role of street art in the urban landscape is representation and urban identity. These perspectives have been used to investigate what is represented in street art and how different forms of street art shape and affect the city's identity. Our results show that street art plays a role in creating urban identity and culture around a place and how different conditions of the districts have a potential role in what kind of street art is created. We have seen that street art functions as a representation for socioeconomic challenges, and that there is a culture of reproduction that is reflected by the street art. Gentrification of the city and commodification of street art have an impact on artistic expression, available space and the street art’s ability to communicate with citizens. / Sammanfattning Syftet med denna studie är att undersöka gatukonstens roll i stadsmiljön. För att utföra detta har vi studerat Berlin, med särskilt fokus på stadsdelarna Friedrichshain, Kreuzberg och Prenzlauer Berg. Vår valda metod är etnografi. De teoretiska perspektiv vi använt för att skapa fördjupad förståelse för gatukonstens roll är representation och urban identitet. Teorierna har använts för att undersöka vad gatukonsten representerar samt hur olika former av gatukonst formar och påverkar stadens identitet. Vårt resultat visar att gatukonst spelar en roll i det urbana identitetsskapandet och kulturen för en plats, vilka olika förutsättningar en stadsdel har, men även en potentiell roll i vilken gatukonst som skapas. Vi har sett att gatukonst kan fungera som representation för socioekonomiska utmaningar samt att det finns en kultur av reproduktion som reflekteras genom gatukonsten. Gentrifieringen av staden och kommodifierad gatukonst har en påverkan på konstnärligt uttryck, tillgänglig yta och gatukonstnärernas förmåga att kommunicera med invånarna.

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“Urban Memories” encapsulates a personal journey in Berlin. This master's thesis embarks on a captivating exploration of the fluidity of home and the passage of time in the vibrant urban landscape. Spanning the years 2007 to 2022, the streets of the city serve as both canvas and storyteller, capturing the transient nature of homes and the fragility of moments. Through the innovative medium of embroidery, fragments from a personal diary in 2012 intertwine with literary insights from German authors in different eras such as Christa Wolf, Dörte Hansen, and Jenny Erpenbeck. The narrative unfolds across four chapters, each delving into different facets of the author's experiences and reflections. Looking at historical aspect like the reconstruction of Berlin after World War II and the symbolic significance of disappearing houses, the thesis explores the profound connection between memory and location. It navigates through temporal contexts, examining societal attitudes and the evolving spirit of Berlin across different eras. The thesis also dives into the art of crafting stories, drawing parallels between textile craft and comic drawing. In the final chapter, it explores street art's role in shaping public spaces, highlighting the transformative potential of embroidery. As banners flutter on construction site fences and embroidered memories find a place in the public realm, the thesis invites contemplation on the intersections of art, memory, and the evolving identity of the city.  Through this interdisciplinary exploration, the thesis weaves a tapestry that not only captures personal experiences but reflects the collective memory of a dynamic and ever-changing city.

Impermanence concerns every aspect of our lives, yet it goes unseen often for that same reason. In my dissertation, I wish to explain what impermanence is and delve into the role of impermanence in art. I will first dive into an explanation of what impermanence is, starting from the teaching of the Buddha, then introducing impermanence as a primary quality, highlighting its distinction from the manifestation or secondary qualities, e.g. change, movement, ageing. I will then investigate three examples of how impermanence can be utilised in art. The first case is the representation of impermanence in Jackson Pollock’s abstract paintings, for which I argue that what makes it possible is the inherently unstable appearance of the pieces combined with the artist’s intention and other variables. The second case is that of Anicka Yi’s exploitation of impermanence as a medium for her installations, borrowing Sherri Irvin’s comprehensive definition of medium. I will explain how Yi uses impermanence inside her art, and how she employs the quality in the piece in an effort to achieve her purpose, that of communication. The third and last case concerns the acceptance of the impermanent nature of the medium in street art, which will be pivotal in the achievement of the goal of subversiveness.