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.

In 2019, protests rippled across six continents affecting democracies and autocracies alike with such fervor that journalists repeatedly declared it the year of the street protest. Despite globalization and mobile technologies, contentious politics largely continue to take shape through the performances, narratives, and materialities of the street. That is, contentious politics take on particular place characteristics and thus must be studied in diverse places. This dissertation examines the contentious politics of Germany, a western democracy with a convoluted political history and memory culture. With its cautionary tale of the Nazi movement turned regime, Germany provides an especially valuable context within which to study social memory’s relationship with contentious politics. Based on ten months of fieldwork in Dresden, Berlin, and Munich, this dissertation demonstrates how contentious political actors engage in memory politics and perform, narrate, and employ the materialities of place to (re)mediate multiscalar memories. Inspired by Charles Tilly’s repertoires of contention, the stock of performances and tactics available to contentious political actors, the dissertation examines the role of place memories in present-day contentious politics through corporeal, spatial, and representational repertoires. Corporeal repertoires refer to repeat performances in which meaning making is achieved through the protesting body. As captivating as its visuality may be, it is often the protesting body’s aurality that first signals its presence to passersby. Music, from spontaneous to studio creations, are core to protest soundscapes and the efforts of contentious political actors to reconstruct place. Illustrated through original and appropriated songs, protesting bodies can wield music’s tripartite of meaning making—musical composition, lyrical content, and performance context—to build solidarity, recall a social memory, move bodies to desired political actions, or reimagine geographies. Spatial repertoires shift from the protesting body’s corporeality to its meaning making through mobility in urban space. Protesting bodies, as remembering bodies, occupy or weave together memory places to create new spatial narratives and in turn to (re)construct urban memoryscapes. As placelings, protesters mediate the connections between memory and place and engage in memory work for themselves, for the cities they envision, and/or for a larger imagined community. As exemplified through a historical spatial analysis of Munich digitally mapping 170 years of protest actions (1848–2019), certain places within a given locality become centers of contentious political action because of the deep histories they signify. Shifting from the visible protester to the concealed street artist, representational repertoires refer to meaning making through visual media intimately engaged with the materiality of place. Street art sometimes interacts with institutional memory sites (memory site interactant), but more often floats freely in the larger urban memoryscape thereby transforming liminal spaces into memory places (floating mnemonic actant). Already acknowledged for its placemaking capacity, street art’s mnemonic capacity to push, pull, and play with place memories is demonstrated through various examples commemorating anniversaries, drawing historical analogies, time-shifting historical figures, returning to “better” times, and crafting nascent memories. Evidenced by these chapters, German contentious politics, whether working for a cause or for a political identity, are steeped in social memories and rooted in the meaning making of place. Understood within the wider context of the present democratic crisis, I argue that social memory has become unmoored from the historical past and increasingly mythic in character, especially on the right. Just as democracy suffers from post-truthism and tribalism, so too does social memory. In fact, the memory problem may very well be exacerbating the democratic one. The presence of this problem in Germany, a nation so praised for its memory culture and handling of its dark past, casts great doubt on what constitutes a healthy memory culture. To restore the health of liberal democracies, societies must revisit their relationship to the past. / Media & Communication

No description available.

Cette thèse montre que les citadins qui pratiquent les sports de rue, la danse in-situ ou le street art travaillent les espaces publics contemporains. Ils peuvent être associés à des artisans qui modèlent la ville grâce à une expérience sensible, ludique et imaginaire de l'urbain. L'espace public est ainsi réanchanté, mais il est surtout réactivé car son caractère ouvert, hétérogène et dynamique est stimulé. Ces trois activités ont donc une dimension micropolitique parce qu'elles permettent à leur pratiquants de vivre une forme d'utopie urbaine du quotidien en bouleversant l'ordre social et l'ordre des territoires. Cependant, ce travail n'occulte pas certaines contradictions qui complexifient l'analyse de leur impact sur les espaces publics contemporains. Si tous les riders, danseurs ou street artistes contribuent à la perpétuation d'une ville palimpseste, ils n'écrivent pas tous et toujours des phrases totalement renouvelées. / This thesis highlights that people who practice urban sports, outdoor dance, and street art work on contemporary public space. They may also be associated with skilled craftsmen who "shape" the city by a sensitive, playfulness and imaginary experience of urbanity. Public space is becoming more enjoyable, but above all its open, heterogeneous and dynamic character is simulated. These three activities have a micro-political dimension because they give the opportunity to their participants to live a kind of urban utopia and to unravelling social and territorial orders. However, this work doesn't hide some contradictions that make analysis of the impact of respondents on contemporary public space growing in complexity. If every riders, dancers and street artists contribute to the perpetuation of the "palimpsest city", they do not always write some "renew sentences".

No description available.

This thesis aims to form the basis of research on the Icelandic street art by detailing the main events that spurred the development of this art movement and by describing the key factors that shaped the evolution of this artistic movement in Iceland and the societal reaction towards it. The presented theoretical material aims to enable discussion on street art substance in this one particular country, taking into consideration the scope of definitions applied in international street art research. While regarding already existing studies on this artistic movement in other countries, this thesis presents the local specifics in order to highlight the differences in artistic and social approach. The topic was chosen due to personal interests that grew expansively while the author was living in Iceland. The possibilities to directly observe the evolving contemporary art scene and participate in the ongoing changes served as a factual basis for further research. Author noticed the sizeable gap in the research on Icelandic art, especially available to international academic forums. Moreover, there has been no previously conducted research on Icelandic street art, and, to date, only limited study on Icelandic contemporary art is available. Another factor for the choice of theme was the particular interest in the contemporary artistic movements that raise the question of applicable art definitions and hence also the scope of research, which demands a multidisciplinary approach. Street art, as a dynamic socio – artistic movement, encompasses such an approach and challenges the researchers to apply various methods of art history, combined with sociological approach, in order to conduct research on graffiti, street art or broader urban creativity. Due to the ambivalent nature of street art as well as the possible legal consequences it carries, accessing the functional sources for academic purposes is crucial. This study involves materials obtained direct in local research, through interviews and field work but also municipal documentation and information provided in domestic press and social media. It seemed essential to present the most important occurrences in local political and social history and to summarize the factors that allowed the formation and development of Icelandic street art. Due to the pioneering element of the study, the monography of the movement seemed more appropriate than a detailed analysis of particular artworks or artists’ biographies adopting methodologies designed for the history of art.:PART I Theory 1. Methodology and research goals 1.1 Subject matter and research tools 1.2 Historical background reasoning the topic choice 1.3 Development of history of art as a discipline reasoning the topic choice 1.4 Information sources used in research, collection methods and value assessment 1.5 Specifics of Iceland 2. Fluctuating scope of the area of interest 2.1 Change in the approach 2.2 Widening research and multidisciplinary approach 3. Nomenclature in the street art and urban activity studies 3.1 Overview of milestones in attempts of street art definitions 3.2 Newest points of view 3.3 Definitions used hereby 4. Institutionalization as an inseparable part of street art history 4.1 Scope of definition 4.2 Institutionalization as an inseparable part of street art 4.3 The side effect of sponsored street art 4.3.1 Graffiti in large-format advertising 4.3.2 Substitute for freedom in curated urban space 4.3.3 Zero Tolerance Policies and clean cities 4.4 Publicity of the public art 4.5 Research on the institutionalization of street art 5. Icelandic street art in the context of the current state of international research 5.1 Area of interest – social studies and the edge of different disciplines 5.2 Different means of research on street art 5.2.1 Festivals, conferences and street art museums as a research tool 5.2.1.1 Street art festivals 5.2.1.2 Street art conferences 5.2.1.3. Street art museums 5.2.2 Material published in book forms 5.2.3 Online accessible articles and reviews, blogs 5.3 Icelandic art 5.4 Street art in Reykjavík 5.4.1 The Reykjavík Grapevine 5.4.2 Online sources: personal blogs, tourist information, social media accounts 5.4.3 Hard copy published materials 5.4.4. Social media and sharing platforms 5.4.5 Film materials 5.4.6 Publications of cultural and educational institutions 6. Icelandic street art 6.1 Environment for street art development in Iceland. Artistic society after the Second World War 6.2 Hlíðargöngin as the first scene for Icelandic street art 6.3 Bloom and expansion time 6.4. Zero Tolerance Policy Implementation in Reykjavík 6.4.1 Reasons for the implementation of Zero Tolerance 6.4.2 Scandinavian inspirations for Implementation of Zero Tolerance Policy 6.4.3 The costs of Zero Tolerance Policy 6.4.4 Obtaining permission for graffiti 6.4.5 An assigned place for graffiti 6.4.6 Icelandic version of Zero Tolerance Policy 6.5 The peak of urban creativity around 2012 6.5.1 Hjartagarðurinn 6.5.2 Guido van Helten Sailors, Skagaströnd 2013 Afi, Reykjavík 2013 No exit, Reykjavík 2013 – 2014 Halla, Vestmannaeyar, 2014 Girl, Akureyri 2014 Jón from Vör, Kópavogur 2015 Sæfari, 2015 6.5.3. Sara Riel 6.5.3.1 Education, early recognition and awards 6.5.3.2 Beginnings on the street art scene 6.5.3.3 Time of growing up 6.5.3.4 In the vibrant city 6.5.3.5 Natural Kingdoms 6.5.3.6 Memento Mori 6.5.3.7 Is it legal? 6.5.3.8 Turn into abstract organic art 6.5.3.9 What plant would you like to be and why? 6.6 Street art intensity around 2012 – 2013 and balancing the scene off 6.7 Wall Poetry 6.7.1 Iceland Airwaves Festival 6.7.2 Urban Nation 6.7.3 Wall Poetry 2015 6.7.3.1 Project description 6.7.3.2 Artworks 6.7.4 Wall Poetry 2016 6.8 Current situation on Icelandic street art scene 7 The official and social approach towards street art in Iceland 7.1 Street art reception 7.2 Reykjavík´s mayor Jón Gnarr and Banksy 7.3 Educational institutions 7.4 Artists associations 7.5 Exhibition rooms and artists-run spaces 8. ”Icelandness”? 9. Summary List of the Icelandic names and their translation in English Photography credentials Bibliography PART II Photographic material Fig. 1 Research on social reception of street art Photographs

Cette thèse porte sur l'analyse des processus de production des œuvres d'art urbain (de l'art pérenne au street art) pendant la régénération urbaine. L'art joue-t-il un rôle de révélateur, de socle voire de catalyseur du développement des territoires dans un contexte de société événementielle et de compétition métropolitaine ? Ce questionnement prend principalement appui sur une opération d'aménagement dans la métropole parisienne (Zone d'Aménagement Concertée Paris Rive Gauche) et mobilise des cas satellites en Ile-de-France, qui font/ou ont fait l'objet de la prise en compte d'actions artistiques. D'abord, l'idée est de démontrer que l'art joue un rôle grandissant dans et pour le projet urbain, en examinant l'évolution de ses formes, de ses spatialités et des enjeux territoriaux et touristiques qu'il doit servir depuis l'engagement de l'opération en 1991. De plus, il s'agit de mettre en lumière les contraintes, les reconfigurations et les hybridations des pratiques des acteurs des mondes de l'aménagement et de l'art, ainsi que la prise d'importance de professionnels à la croisée de ces mondes, incarnés par les galeristes de street art dans Paris Rive Gauche. Enfin, cette étude se penche sur les effets de la promotion de l'art- et en particulier du street art - sur le statut de centralité et l'image des territoires valorisés. En quoi agit-elle sur la valeur internationalisée de cette image et la transformation des espaces publics en espaces de galeries ? Une attention est portée sur la reproduction de projets similaires dans différents contextes géographiques, les mécanismes de fonctionnement des acteurs impliqués dans les projets et leurs circulations spatiales. / The purpose of this research is to analyse the production processes of urban artworks (from perennial art to street art) within urban regeneration. Does art represents a witness, a base or even a catalyst of the development of territories within the context of the event society and the metropolitan competition? This questioning is mainly based on a development operation in the Parisian metropolis (Zone d'Aménagement Concertée Paris Rive Gauche) and mobilizes satellite examples in Ile de France, which are or have been the subject of artistic actions. This thesis first of all demonstrates that art plays a growing role in and/or the urban project, by examining the evolution of its forms, its spatial features and the territorial and tourist issues that it must serve since the beginning of the operation in 1991. ln addition, it highlights the constraints, the reconfigurations and hybridizations of the behavior of the professionals in the fields of urban and art, well as the growing importance of figures at the crossroad of both fields such as street art galleries in Paris Rive Gauche. Finally, it analyses the effects of the promotion of art - specifically street art - on the status of centrality and the image of the territories. How does it affect the internationalized value of this image and does it transform public spaces into gallery spaces? For this purpose, a special attention is given to the reproduction of similar projects in different geographical contexts, the behavior of the actors involved in the projects and their spatial circulations.

La transgression discursive que constitue le street art peut s’exprimer dans divers espaces. Si les œuvres apparaissent tout d’abord dans la rue, leurs reprises sur les réseaux socionumériques leur octroient de nouvelles spatialité et temporalité ; elles sont alors non seulement inscrites dans la durée, mais également intégrées dans un nouvel « effet de sens ». Passant d’un mur urbain à un mur socionumérique, cet acte subversif engage à la constitution d’une communauté autour d’une thématique ou un centre d’intérêt plus ou moins politisé. L’Egypte voit le street art soudainement apparaître dans ses rues et se répandre comme une traînée de poudre sur les réseaux socionumériques dès le soulèvement insurrectionnel de janvier-février 2011. A partir de ce constat, il s’agit d’étudier la contribution de la médiation socionumérique du street art, prise en charge par des communautés activistes, à un agir des collectifs politiques. Ce travail de thèse a pour principal objectif de vérifier dans quelle mesure ces collectifs s’instituent en un public politique revendiquant la chute d’un régime ainsi que la mise en place d’un pouvoir civil et démocratique. Une approche pragmatiste, associant une « théorie de l’action » deweyienne à une sémiotique peircienne, est mise à l’œuvre afin d’observer les actions d’un public. Celles-ci sont suscitées par des dispositifs médiatiques, dont les auteurs insèrent dans leur discours des images street artivistes, générant des récits mythographiques victimaires et martyrologiques. / The discursive transgression of street art can be expressed in various spaces. In the street for a first appearance, but the coverings on the social networks give new spatiality and temporality to a work, they now inscribe it in duration as well as in a new "effect of meaning". Moving from an urban wall to a sociodigital wall, subversion commits to the constitution of a community around a thematic or a more or less politicized center of interest. Egypt in 2010 sees street art suddenly appearing in its streets and spreading like wildfire on the sociodigital networks from the insurrectional uprising of January-February 2011.From this observation, it will be necessary to study the contribution of the social media mediation of street art, taken over by activist communities, to incite political collectives to an action. This work of thesis will try to verify to what extent these collectives are instituted in a political public demanding the fall of a political regime as well as the establishment of a civil and democratic power. A pragmatist approach will combine a deweyian "theory of action" with a Peircian semiotics in order to observe the actions of a political public. These are aroused by media devices, which include street artivist images in their speeches, generating victimary and martyrological mythographic narratives.