Street art

نوشته شده در موضوع خرید اینترنتی در 04 ژانویه 2018

Street art is visible art combined in open locations, customarily bootleg design executed outward of a context of normal art venues. Other terms for this form of art embody “independent open art”, “post-graffiti”, and “neo-graffiti”, and is closely compared with county art and riotous art.[1][2][3] Common forms and media embody mist paint graffiti, stencil graffiti, wheatpasted print art, plaque art, transport installations, and sculpture. Video projection and chronicle bombing have also gained some approval nearby a spin of a 21st century.


Street art is a form of design that is displayed in a village on a surrounding buildings, streets, and other publicly noticed surfaces. Many instances come in a form of riotous art, that is stoical to make a open matter about a throng that a artist lives within. The work has changed from a beginnings of graffiti and desolation to new modes where artists work to move messages, or customarily elementary beauty, to an audience.[5]

Some artists use “smart vandalism” as a approach to lift approval of amicable and domestic issues.[6] Others simply see county space as an untapped format for personal artwork, while others competence conclude a hurdles and risks that are compared with installing unlawful design in open places. A common belligerent is that formulating art in a format that utilizes open space allows artists who competence differently feel disenfranchised to strech a many broader assembly than other styles or galleries would allow.

Whereas normal graffiti artists have essentially used mist paint to furnish their work, “street art” encompasses many other media, such as LED art, mosaic tiling, murals, stencil art, plaque art, “Lock On” sculptures, transport installations, wheatpasting, woodblocking, chronicle bombing, and stone balancing.[7] New media forms such as projection onto vast city buildings are an increasingly renouned apparatus for transport artists—and a accessibility of inexpensive hardware and module allows transport artists to spin some-more rival with corporate advertisements. Much like open source software, artists are means to emanate art for a open area from their personal computers, likewise formulating things for giveaway that contest with companies origination things for profit.[8]

Some observers use a tenure “independent open art” to news a form of transport art, that can also embody work in remote places that competence not be visited by an audience, and competence also be short-lived. An fleeting instance of colored fume in a forest, or a unsafe stone change are examples.[2][4][9][10] Some work has been consecrated underwater.[11]


Slogans of criticism and domestic or amicable explanation graffitied onto open walls are a predecessor to complicated graffiti and transport art, and continue as one aspect of a genre. Street art in a form of content or elementary iconic graphics in a capillary of corporate icons spin obvious nonetheless puzzling black of an area or an era.[12] Some credit a Kilroy Was Here graffiti of a World War II epoch as one such early example; a elementary line-drawing of a long-nosed male peering from behind a ledge. Author Charles Panati indirectly overwhelmed on a entire interest of transport art in his outline of a “Kilroy” graffiti as “outrageous not for what it said, though where it incited up”.[13] Much of what can now be tangible as complicated transport art has well-documented origins dating from New York City’s graffiti boom, with a decline in a 1960s, maturation in a 1970s, and peaking with a spray-painted full-car transport steer murals of a 1980s centered in a Bronx.

As a 1980s progressed, a change occurred from text-based works of early in a decade to visually unpractical transport art such as Hambleton’s shade figures.[14] This duration coincides with Keith Haring’s transport announcement subversions and Jean-Michel Basquiat’s SAMO tags. What is now famous as “street art” had nonetheless to spin a picturesque career consideration, and offshoots such as stencil graffiti were in their infancy. Wheatpasted print art used to foster bands and a clubs where they achieved grown into tangible design or copy-art and became a common steer during a 1980s in cities worldwide.[citation needed] The organisation operative collectively as AVANT were also active in New York during this period.[15] Punk stone music’s rebellious ideologies were also instrumental to transport art’s enlargement as an art form during a 1980s. Some of a anti-museum genius can be attributed to a beliefs of Marinetti who in 1909 wrote a “Manifesto of Futurism” with a quote that reads, “we will destroy all a museums.”[16] Many transport artists explain we do not live in a museum so art should be in open places with no tickets.[16]

Early iconic works[edit]

The northwest wall of a intersection during Houston Street and a Bowery in New York City has been a aim of artists given a 1970s. The site, now infrequently referred to as a Bowery Mural, originated as a derelict wall that graffiti artists used freely. Keith Haring once commandeered a wall for his possess use in 1982. After Haring, a tide of obvious transport artists followed, until a wall had gradually taken on prestigious status. By 2008, a wall became secretly managed and finished accessible to artists by elect or invitation only.[citation needed]

A array of murals by René Moncada began appearing on a streets of SoHo in a late 1970s emblazoned with a disproportion I AM THE BEST ARTIST. René has described a murals as a ride in a nose to a art village he felt he’d helped colonize though by that he after felt deserted by.[12][17] Recognized as an early act of “art provocation”,[18] they were a theme of review and discuss during a time, and compared authorised conflicts lifted contention about egghead property, artist’s rights, and a First Amendment.[19][20][21][22] The entire murals also became a renouned backdrop to photographs taken by tourists and art students, and for promotion layouts and Hollywood films.[23][24][25]IATBA murals were mostly defaced, customarily to be repainted by René.[18][26]

Commercial crossover[edit]

Some transport artists have warranted entire courtesy for their work and have finished a full transition from transport art into a mainstream art world — some while stability to furnish art on a streets. Keith Haring was among a commencement call of transport artists in a 1980s to do so. Traditional graffiti and transport art motifs have also increasingly been incorporated into mainstream advertising, with many instances of artists engaged to work as striking designers for corporations. Graffiti artist Haze has supposing arise and striking designs for song acts such as a Beastie Boys and Public Enemy. Shepard Fairey’s transport posters of then-presidential claimant Barack Obama were reworked by special elect for use in a presidential campaign. A chronicle of a design also seemed on a cover of Time magazine. It is also not odd for transport artists to start their possess merchandising lines.[citation needed]

Street art has spin some-more supposed by a entire public, expected due to a artistic approval and a high-profile standing of Banksy and other artists. This has led transport art to spin one of a ‘sights to see’ in many European cities. Some artists now yield tours of inner transport art and are means to share their knowledge, explaining a ideas behind many works, a reasons for tagging and a messages portrayed in a lot of graffiti work. Berlin, London, Paris, Hamburg and other cities all have renouned transport art tours using all year round. In London alone there are presumably 10 opposite graffiti tours accessible for tourists.[27] Many of these organisations, such as Alternative London,[28] ParisStreetArt,[29] AlternativeBerlin,[30] honour themselves on operative with inner artists, so visitors can get an authentic knowledge and not customarily a rehearsed script.

Many of these guides are painters, fine-art graduates and other artistic professionals that have found a core of transport art as a approach to vaunt their work. With this blurb angle they are means to let people in to a universe of transport art and give them some-more of an bargain of where it comes from. It has been argued that this flourishing approval of steet art has finished it a means in gentrification.[31]

Legality and ethics[edit]

Street art can have a possess set of authorised issues. The parties concerned can embody a artist, a city or metropolitan government, a dictated recipient, and a owners of a structure or a core where a work was displayed. One instance is a box in 2014 in Bristol England, that exhibits a legal, moral, and arguable questions that can result. The Mobile Lovers by Banksy was detailed on plywood on a open doorway, afterwards cut out by a citizen who in spin was going to sell a block to hoard supports for a Boys Club. The City supervision in spin confiscated a design and placed it in a museum. Banksy, contention of a maze afterwards bequeathed it to a strange citizen, meditative his intentions were genuine. In this case, as in others, a debate of tenure and open property, as good as a issues of trespassing and desolation are issues to be resolved legally.[32]

Street art, guerilla art, and graffiti[edit]

Graffiti is specially finished adult of combined disproportion that are meant to paint a organisation or village in a enlargement approach and in plain sight. The tell story pointer of transport art is that it customarily includes images, illustrations, or black that are meant to communicate a message.[33] While both works are meant to paint or tell a summary to viewers, one disproportion between a dual comes in a specific viewers that it is meant for. One trait of transport art that has helped to move it to certain light in a open eye is that a messages shown in these open spaces are customarily finished to be distinct to all.[33]

While both of these forms of art have many differences, there are some-more similarities than their origins. Both graffiti and transport art are works of art that are combined with a same intent. Most artists, either they are operative anonymously, formulating an intentionally unintelligible message, or fighting for some larger means are operative with a same ambitions for popularity, recognition, and a open arrangement or escape of their personal thoughts, feelings, and/or passions.[33]

The tenure transport art is described in many opposite ways, one of that is a tenure “guerrilla art.” Both terms news these open works that are placed with definition and intent. They can be finished anonymously for works that are combined to confront banned open issues that will outcome in backlash, or underneath a name of a obvious artist. With any terminology, these works of art are combined as a primary approach to demonstrate a artist’s thoughts on many topics and open issues.[34]

One defining trait or underline of transport art is that it is combined on or in a open area though or opposite a accede of a owner.[35] This is a trait that falls in line with that of graffiti. A categorical eminence between a dual comes in a second trait of transport art or riotous art, where it is finished to paint and arrangement a purposefully uncompliant act that is meant to plea a surrounding environment.[35] This plea can be granular, focusing on issues within a village or broadly sweeping, addressing tellurian issues on a open stage.

This is how a tenure “guerilla art” was compared with this form of work and behavior. The word ties behind to guerilla crusade in story where attacks are finished wildly, though control, and with no manners of engagement. This form of crusade was dramatically opposite than a formerly grave and normal fighting that went on in wars normally. When used in a context of transport art, a tenure guerilla art is meant to give curtsy to a artist’s uncontrolled, unexpected, and mostly unnamed dispute on governmental structure or norms.[36]

Guerilla sculpture[edit]

Guerilla sculpture is a chain of sculptures in transport settings though executive approval; it grown from transport art in England in a late 20th century.[36] In serve to a nontraditional environment of a works of art involved, there are also many opposite techniques used in a origination of this art work. The artists tend to work illegally and in privacy to emanate and place these works in a dim of night, cloaked in poser per their origins and creators. The sculptures are used to demonstrate a artist’s views and to strech an assembly that would not differently be reached by some-more normal methods of displaying one’s work to a public. In behaving these acts of artistic expression, they are not operative to benefit acceptance or adore of a people that they reach, though during times competence even annoy those who perspective their work.[36]

An instance is a overnight coming of an bootleg sculpture of Edward Snowden onto a mainstay in Fort Greene Park in New York City.[36] In other cases a sculptures confederate two-dimensional backdrops with a three-dimensional component, such as one by Banksy patrician Spy Booth (2014). The backdrop was detailed on a wall in Cheltenham, England and featured Cold-War view characters ornate in ditch coats and fedoras, with view accoutrements, microphones, and reel-to-reel fasten decks. These characters seemed to be drumming into a damaged write booth.[36]

A flaw from bootleg transport sculpture is “institutionalized guerilla sculpture”, that is authorised by county authorities and can be commercialized. One such artist from a Netherlands is Florentijn Hofman, who in 2007 combined Rubber Duck, a gigantic delivery of a childhood tub-toy. The Guardians of Time riotous dOCUMENTA are amicable sculptures by Manfred Kielnhofer.

Public acceptance[edit]

Although this form of art has spin a tack of many cities around a world, a approval of this form of artistic countenance was not always so apparent as it is today. In new years, transport art has undergone a vital mutation in open opinion to even spin a socially supposed and reputable accent to a open places that they adorn.[35] Even with this pull for open acceptance, a act of defacing open skill with any and all message, either it is deliberate art or not, has nonetheless to spin available or authorized by a government.[35] Today’s transport art, while common and flourishing in acceptance, is mostly placed in a core belligerent between an act that is opposite a law and a beautifully reputable act of artistic expression.

In a beginning, graffiti was a customarily form of transport art that there was and it was widely deliberate to be a derelict act of territorial imprinting and wanton messaging. Initially, there was really transparent groups between a work of a transport artist and a act of tagging a open or private property, though in new years where a artists are treading a line between a two, this line has spin increasingly blurred.[35] Those who truly conclude a work of famed transport artists or transport works of art, are in acceptance of a fact that this art would not be a same though a core being a street. The works are theme to whatever change or drop competence come due to a fact that they are combined on open or private surfaces that are and owned by a artist or available to be worked on by a skill owners. This acceptance of a intensity impermanence of a works of art and a open chain of a uncondoned works are what minister to a definition of a block and therefore, what helps a enlargement of transport art popularity.[35]

Around a globe[edit]

Street art exists worldwide. Large cities and informal towns of a universe are home to some form of transport art community, from that pioneering artists or forerunners of sold mediums or techniques emerge. Internationally famous transport artists transport between such locations to foster and vaunt their artwork.

North America[edit]

New York City attracts artists from around a world.[37] In Manhattan, “post-graffiti” transport art grew in a 1980s from a afterwards mostly empty neighborhoods of SoHo and a Lower East Side. The Chelsea art district became another locale, with area galleries also hosting grave exhibitions of transport artist’s work. In Brooklyn, a Williamsburg and Dumbo neighborhoods — generally nearby a waterfront — are famous transport art sites.[38]

Programs in a Pennsylvania cities of Philadelphia and Pittsburgh yield appropriation to agencies who occupy transport artists to adorn city walls. The Mural Arts Program determined in 1984 has helped Philadelphia acquire regard as a “City of Murals”. The devise was instituted to inspire graffiti artists toward a some-more constructive use of their talents. Murals corroborated by The Sprout Fund in Pittsburgh were named a “Best Public Art” by a Pittsburgh City Paper in 2006.[39][40]

Street art in Atlanta centers on a Old Fourth Ward and Reynoldstown neighborhoods, a Krog Street Tunnel, and along a 22-mile BeltLine railway mezzanine that circles a middle city. Atlanta determined a Graffiti Task Force in 2011. Although a city comparison a series of murals that would not be targeted by a charge force, a preference routine ignored transport art of a renouned Krug Street Tunnel site. Art combined in and with a Living Walls transport art conference, that Atlanta hosts annually, were spared. Some actions taken by a unit, including arrests of artists deemed vandals, caused village opposition; some deliberate a city’s efforts as “misdirected” or “futile”.[41][42]

Sarasota, Florida, hosts an annual transport art event, a Sarasota Chalk Festival, founded in 2007. An eccentric appendage famous as Going Vertical sponsors works by transport artists, though some have been private as controversial.[43][44]

The Los Angeles area of Hollywood and streets such as Sunset Boulevard, La Brea, Beverly Boulevard, La Cienega, and Melrose Avenue are among pivotal locations.[45]LAB ART Los Angeles, non-stop in 2011, devotes a 6,500 block feet of gallery space to transport art. Artwork by locals such as Alec Monopoly, Annie Preece, Smear and Morley are among a collection.

San Francisco’s Mission District has densely packaged transport art along Mission Street, and along both Clarion and Balmy Alleys.[46] Streets of Hayes Valley, SoMa, Bayview-Hunters Point and a Tenderloin have also spin famous for transport art.[47]San Diego’s East Village, Little Italy, North Park, and South Park neighborhoods enclose transport design of VHILS, Shepard Fairey, Tavar Zawacki a.k.a. ABOVE , Space Invader, Os Gêmeos, among others. Murals by several Mexican artists can be seen during Chicano Park in a Barrio Logan neighborhood.

Montreal (Canada) has transport art epicenters in Le Plateau-Mont-Royal, Villeray, Downtown Montreal Le Sud-Ouest, Hochelaga-Maisonneuve, and mixed art districts within a Island of Montreal.[citation needed]

Toronto (Canada) has a poignant graffiti scene.[48]

Richmond, Virginia has over 100 murals combined by artists, many of whom are alumni of Virginia Commonwealth University’s School of a Arts or stream students there. Some of a murals are secretly consecrated by people and businesses, some are combined by solo transport artists, and some are collaborative organisation fund-raising projects.[49]

Denver transport artists have been bustling brightening (and enlightening) a county landscape for decades by origination canvases of a city’s alleyways, building exteriors, warehouses, garage doors and storefronts.[50] The city of Denver has a whole area called a River North Art District (RiNo) that is dedicated to a work of inner artistic artists. Most artists in a RiNo district are consecrated by a inner business owners who wish to give their buildings colorful imagery.

South America[edit]

Buenos Aires has grown a repute for a vast scale murals and artworks in many transport stations and open spaces. The initial graffiti artists started portrayal in transport in a Argentine collateral in a mid-1990s after visiting other countries in Europe and South America. One of a initial famous transport artists in Argentina is Alfredo Segatori, nicknamed ‘Pelado’, who began portrayal in 1994 and binds a record for a longest picture in Argentina[51] measuring some-more than 2000m2.

São Paulo is also home to an internationally famous transport art scene.[citation needed]

An contentment of buildings slated for dispersion yield vacant canvases to a throng of artists, and a authorities can't keep adult with stealing artists output. “Population density” and “urban anxiety” are common motifs voiced by “Grafiteiros” in their transport art and pichação, rune-like black graffiti, pronounced to communicate feelings of category conflict.

Influential Brazilian transport artists embody Claudio Ethos, Os Gêmeos, Vitche, Onesto, and Herbert Baglione.[52][53]


London has spin one of a many pro-graffiti cities in a world. Although strictly cursed and heavily enforced, transport art has a outrageous following and in many ways is embraced by a public, for example, Stik’s hang figures.[55]Dulwich Outdoor Gallery, in partnership with Street Art London, is an outside “gallery” of transport art in Dulwich, southeast London, with works formed on normal paintings in Dulwich Picture Gallery.[56]

Bristol has a distinguished transport art scene, due in partial to a success of Banksy,[57] with many vast and charming murals winning areas of a city.

Poland has artists like Sainer and Bezt famous for portrayal outrageous murals on buildings and walls.[58]

Paris, France has an active transport art stage that is home to artists such as Space Invader, Jef Aérosol, SP 38 and Zevs. Some bond a origins of transport art in France to Lettrism of a 1940s and Situationist slogans detailed on a walls of Paris starting in a late 1950s. Nouveau realists of a 1960s, including Jacques de la Villeglé, Yves Klein and Arman interacted with open spaces but, like cocktail art, kept a normal studio-gallery relationship. The 1962 transport designation Rideau de Fer (Iron Curtain) by Christo and Jeanne-Claude is cited as an early instance of bootleg transport art. In a 1970s, a site-specific work of Daniel Buren seemed in a Paris subway. Blek le Rat and a Figuration Libre transformation became active in a 1980s.[citation needed]

Street art on a Berlin Wall was continual during a time Germany was divided, though transport art in Berlin continued to flower even after reunification and is home to transport artists such as Thierry Noir Tavar Zawacki a.k.a. ABOVE and SP 38. Post-communism, inexpensive rents, and rickety buildings gave arise to transport art in areas such as Mitte, Prenzlauer Berg, Kreuzberg, and Friedrichshain.[citation needed]

The second biggest city in Estonia, Tartu, has been called a Estonian transport art capital.[59] While Tallinn has been opposite graffiti, afterwards Tartu is famous for transport art festival Stencibility and for being home for a far-reaching operation of works from several artist.[60]

The transport art stage in Greece has been active given a late 1980s though gained movement in Athens heading adult to a country’s 2011 financial crisis, with a series of artists lifting voices of resistance, formulating allegorical works and amicable explanation in a ancestral city core and Exarhia district. The New York Times published a story about a predicament in propinquity to transport art, and art in general.[61] Street art by, whose work has been categorized as “artivism”, can be found in neighborhoods such as Psiri.

In Spain Madrid and Barcelona paint a many graffiti populated cities, while Valencia, Zaragoza and Málaga also have a transport art scene.[citation needed]

Italy has been really active in transport art given a finish of a 1990s; some of a many famous transport artists embody BLU, 108, and Sten Lex.[62]

Street art in Amsterdam (Netherlands) centers on a Flevopark, on a easterly side, NDSM quay in Amsterdam Noord, and a Red-light District. Artists who have gained approval embody Niels Shoe Meulman, Ottograph, Ives one, Max Zorn, Mickey, DHM, X Streets Collective,[63] Bustart, Mojofoto, Mark Chalmers and common CFYE. The city is home to a “Amsterdam Street Art” group, compelling transport art in a city with aims to move it to a same turn as that of London, Paris, and Barcelona.[64]

The city of Bergen is looked on as a transport art collateral of Norway.[65] British transport artist Banksy visited a city in 2000 and desirous many to take their art to a streets.[66]Dolk is among inner transport artists in Bergen.[67][68] His art can be seen around a city. Bergen’s city legislature in 2009 chose to safety one of Dolk’s works with protecting glass.[69]

In 2011, a city legislature launched a devise of movement for transport art from 2011–2015 to safeguard that “Bergen will lead a conform for transport art as an countenance both in Norway and Scandinavia”.[70]

The city of Stavanger is horde to a annual Nuart Festival, an eventuality dedicated to compelling transport art; a festival is one of a oldest curated “street art” festivals in a world.[citation needed] Nuart Plus is an compared courtesy and educational contention dedicated to transport art. The eventuality takes place any September. Oslo, by contrast, has a 0 toleration process opposite graffiti and transport art, nonetheless artists such as DOT DOT DOT have combined work there.[citation needed]

Street art came to Sweden in a 1990s and has given spin a many renouned approach to settle art in open space. The 2007 book “Street Art Stockholm”, by Benke Carlsson, papers transport art in a country’s capital.[71]

The transport art stage of Finland had a enlargement emanate from a 1980s onwards, until in 1998 a city of Helsinki began a ten-year 0 toleration process that finished all forms of transport art illegal, punishable with high fines, and enforced by private confidence contractors. The process finished in 2008, after that authorised walls and art collectives have been established.[citation needed]

Wheatpaste and stencil graffiti art in Denmark increasing fast after visits from Faile, Banksy, Ben Eine, and Shepard Fairey between 2002–2004, generally in county areas of Copenhagen such as Nørrebro and Vesterbro.[72] Copenhagen is home of TEJN, a artist credited with introducing a Lock On transport art genre.

Since a fall of communism in 1989, transport art became prevalent in Poland via a 1990s. In a city of Łódź a permanent city muster was financed in 2011, underneath a clientele of Mayor Hanna Zdanowska, called “Urban Forms Gallery”.[73] The muster enclosed work from some of Poland’s chosen transport artists as good as globally famous artists. Despite being mostly supposed by a public, with authorities spasmodic permitting artists licenses to adorn open places, other properties are still illegally targeted by artists. Warsaw and Gdańsk are other Polish cities with a colourful transport art culture.[74]

A relic in Bulgaria depicting Soviet Army soldiers was targeted by unknown transport artists in June, 2011. The soldiers of a monument, located in Sofia, were detailed to execute Ronald McDonald, Santa Claus, Superman, and others. The relic existed in that condition for several days before being cleaned. Some adults were in preference of permitting a embellishments to remain.[citation needed]

Moscow has increasingly spin a heart for Russian graffiti artists as good as entire visitors. The Street Kit Gallery, non-stop in 2008, is dedicated to transport art and organizes events in galleries, pop-up spaces and on a streets of a city. The 2009 Moscow International Biennale for Young Art enclosed a territory for transport art. Active artists embody Make, RUS, and Kiev-based Interesni Kazki (also active in Miami and Los Angeles).[75] Britain’s BBC network highlighted a design of Moscow transport artist Pavel 183 in 2012.[76][77]

The retraction of a Soviet Union left Georgia with delicious county space for a growth of transport art. Although it is a comparatively new trend in Georgia, a approval of transport art is flourishing rapidly. Majority of Georgian transport artists are clever in Tbilisi. Street art serves as a clever apparatus among a immature artists to criticism opposite a many argumentative issues in a amicable and domestic life in Georgia and so gets substantial courtesy in a society. Influential artists embody Gagosh, TamOonz, and Dr.Love.[77][78][79]


In South Korea’s second largest city, Busan, German painter Hendrik Beikirch combined a picture over 70 metres (230 ft) high, deliberate Asia’s tallest during a time of a origination in August, 2012. The monochromatic picture portrays fisherman.[80] It was orderly by Public Delivery.[81]



Melbourne is home to one of a world’s many active and different transport art cultures and is home to pioneers in a stencil medium. Street artists such as Blek le Rat and Banksy mostly exhibited works on Melbourne’s streets in a 2000s (decade). Works are upheld and recorded by inner councils. Key locations within a city embody Brunswick, Carlton, Fitzroy, Northcote, and a city centre including a famous Hosier Lane.


Perth also has a tiny transport art scene. Sydney’s transport art stage includes Newtown area graffiti and transport art.[citation needed]

New Zealand[edit]

In 2009 in Auckland, transport art flashy a city with worldly striking imagery. Auckland’s city legislature available electrical boxes to be used as canvases for transport art. Local transport art organisation TMD (The Most Dedicated) won a “Write For Gold” entire foe in Germany dual years in a row. Surplus Bargains is another inner collective.[82]

Christchurch was ravaged by 2 earthquakes in 2010 and 2011 and as a outcome 8000 homes and 80 percent of a executive city were condemned. It wasn’t until dual and half years after that a city was means to horde a initial vital informative event[citation needed]Rise Street Art Festival hold during Canterbury Museum constructed by Australasian transport art organiser Oi YOU!.[83]

The eventuality captivated over 248,000 visitors (the many visited uncover in a Museum’s history) and saw 15 murals detailed opposite a ravaged executive city. The murals became village icons for a re-emergence and reconstruct of Christchurch.[citation needed]

Two serve Oi YOU! Festivals, both underneath a name of Spectrum featured vast inner exhibitions as good as adding to a city’s batch of murals.[84] Since Rise over 40 murals have been constructed in a executive city and a Lonely Planet beam to tellurian transport art featured Christchurch as one of a best cities in a universe to knowledge a art form.[citation needed]


Although transport art in South Africa is not as entire as in European cities, Johannesburg’s executive Newtown district is a centre for transport art in a city.[85] The “City Of Gold International Urban Art Festival” was hold in a city’s Braamfontein county and tyro district in Apr 2012.[86]

The New York Times reported Cairo’s presentation as a transport art core of a segment in 2011. Slogans job for a overpower of a Mubarak regime has grown into æsthetic and politically provocative motifs.[87][88]

Street art from Egypt, Tunisia, Yemen, and Libya has gained prominence given a Arab Spring, including a 2012 muster in Madrid’ s Casa Árabe.[89]

Exhibitions, festivals, and conferences[edit]

In 1981, Washington Project for a Arts hold an muster entitled Street Works, that enclosed county art pioneers such as John Fekner, Fab Five Freddy and Lee Quinones operative directly on a streets.[90]

Sarasota Chalk Festival was founded in 2007 sponsoring transport art by artists primarily invited from via a US and shortly extended to internationally. In 2011 a festival introduced a Going Vertical picture module and a Cellograph devise to accompany a transport drawings that also are combined by eminent artists from around a world. Many entire films have been constructed by and about artists who have participated in a programs, their murals and transport drawings, and special events during a festival.[91]

Living Walls is an annual transport art contention founded in 2009.[92] In 2010 it was hosted in Atlanta and in 2011 jointly in Atlanta and Albany, New York. Living Walls was also active compelling transport art during Art Basel Miami Beach 2011.[93]

The RVA Street Art Festival is a transport art festival in Richmond, Virginia began in 2012. It is orderly by Edward Trask and Jon Baliles. In 2012, a festival took place along a Canal Walk; in 2013 it took place during a deserted GRTC lot on Cary Street.[94]

The Pasadena Chalk Festival, hold annually in Pasadena, California, is a largest street-art festival in a world, according to Guinness World Records.[95] The 2010 book concerned about 6 hundred artists of all ages and skills and captivated some-more than 100,000 visitors.[96]

Documentary films[edit]

  • Rash (2005), a feature-length documentary by Mutiny Media exploring a informative value of Australian transport art and graffiti
  • Roadsworth: Crossing a Line (2007), a documentary film about a authorised onslaught of Montreal transport artist Roadsworth
  • Bomb It (2008), a documentary film about graffiti and transport art around a world
  • Eloquent Vandals (2011), a brief documentary on a story of a Nuart Festival
  • Exit Through a Gift Shop (2010), a documentary combined by a artist Banksy about Thierry Guetta
  • Street Art Awards (2010), opening of a transport art festival in Berlin
  • Las Calles Hablan (2013), feature-length documentary about transport art in Barcelona
  • Style Wars (1983), a PBS documentary about graffiti artists in New York City featuring Seen, Kase2, Dez and DONDI
  • DeeVaar, a documentary about graffiti and transport art in Iran

See also[edit]


  1. ^ “Neo-graffiti” is a tenure coined by Tokion Magazine in a pretension of a Neo-Graffiti Project 2000, that featured “classic” transport graffiti artists operative in new media; others have called this materialisation “urban art.” A contention by a Wooster Collective on vernacular can be found during
  2. ^ a b Interview with Rafael Schacter, Author of The World Atlas of Street Art and Graffiti (“…I cite to use a tenure Independent Public Art…”).
  3. ^ Aerosol Art (“…in preference of a catchall ‘Independent Public Art'”).
  4. ^ a b Filippo Minelli “Silence/Shapes.”
  5. ^ Antonova, Maria. 2014. “Street Art.” Russian Life 57(5):17
  6. ^ “Student art devise is desolation for a cause”. The Herald-Times. Archived from the original on 20 Mar 2012. Retrieved 4 April 2011. 
  7. ^ For a growth of character in a aerosol paint medium, as good as an hearing of a political, cultural, and amicable explanation of a artists, see a anthropomorphic story of New York transport graffiti art, Getting Up: Subway Graffiti in New York, by Craig Castleman, a tyro of Margaret Mead, The MIT Press, Cambridge, Massachusetts, 1982.
  8. ^ Geek Graffiti: A Study in Computation, Gesture and Graffiti Analysis
  9. ^ Rafael Schacter, author of “The World Atlas of Street Art and Graffiti“, September, 2013; ISBN 9780300199420.
  10. ^ Rafael Schacter and His “World Atlas of Street Art and Graffiti.”
  11. ^ Gravity Glue 2015; (Underwater Rock change during 3:55).
  12. ^ a b Smith, Howard (21 Dec 1982). “Apple of Temptation”. The Village Voice. Manhattan, New York, US. p. 38. 
  13. ^ Zotti, Ed (4 Aug 2000). “What’s a start of ‘Kilroy was here’?”. Straight Dope; staff news from a Science Advisory Board. Sun-Times Media, LLC. Retrieved 29 October 2016. 
  14. ^ Robinson, David (1990) Soho Walls – Beyond Graffiti, Thames Hudson, NY, ISBN 978-0-500-27602-0
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Further reading[edit]

  • Avramidis, Konstantinos, Tsilimpounidi, Myrto (Eds.), (2017), “Graffiti and Street Art: Reading, Writing and Representing a City”, Routledge, ISBN 978-1472473332
  • Bearman, Joshuah (1 Oct 2008). “Street Cred: Why would Barack Obama entice a graffiti artist with a prolonged swat piece to launch a riotous selling debate on his behalf?”. Modern Painters. Retrieved 1 October 2008. 
  • Le Bijoutier (2008), This Means Nothing, Powerhouse Books, ISBN 978-1-57687-417-2
  • Bou, Louis (2006), NYC BCN: Street Art Revolution, HarperCollins, ISBN 978-0-06-121004-4
  • Bou, Louis (2005), Street Art: Graffiti, stencils, stickers logos, Instituto Monsa de ediciones, S.A., ISBN 978-84-96429-11-6
  • Chaffee, Lyman (1993). Political Protest and Street Art: Popular Tools for Democratization in Hispanic Cultures. Westport, CT: Greenwood Press. ISBN 0-313-28808-9. 
  • Combs, Dave and Holly (2008), PEEL: The Art of a Sticker, Mark Batty Publisher, ISBN 0-9795546-0-8
  • Danysz, Magda (2009) From Style Writing to Art, a transport art anthology, Dokument Press, ISBN 978-8-888-49352-7
  • Fairey, Shepard (2008), Obey: E Pluribus Venom: The Art of Shepard Fairey, Gingko Press, ISBN 978-1-58423-295-7
  • Fairey, Shepard (2009), Obey: Supply Demand, The Art of Shepard Fairey, Gingko Press, ISBN 978-1-58423-349-7
  • Gavin, Francesca (2007), Street Renegades: New Underground Art, Laurence King Publishers, ISBN 978-1-85669-529-9
  • Goldstein, Jerry (2008), Athens Street Art, Athens: Athens News, ISBN 978-960-89200-6-4
  • Harrington, Steven P. and Rojo, Jaime (2008), Brooklyn Street Art, Prestel, ISBN 978-3-7913-3963-4
  • Harrington, Steven P. and Rojo, Jaime (2010), Street Art New York, Prestel, ISBN 978-3-7913-4428-7
  • Hundertmark, Christian (2005), The Art Of Rebellion: The World Of Street Art, Gingko Press, ISBN 978-1-58423-157-8
  • Hundertmark, Christian (2006), The Art Of Rebellion 2: World of Urban Art Activism, Gingko Press, ISBN 978-3-9809909-4-3
  • Jakob, Kai (2009), Street Art in Berlin, Jaron, ISBN 978-3-89773-596-5
  • Longhi, Samantha (2007), Stencil History X, Association C215, ISBN 978-2-9525682-2-7
  • Manco, Tristan (2002), Stencil Graffiti, Thames and Hudson, ISBN 0-500-28342-7
  • Manco, Tristan (2004), Street Logos, Thames and Hudson, ISBN 0-500-28469-5
  • Marziani, Gianluca (2009), Scala Mercalli: The Creative Earthquake of Italian Street Art, Drago Publishing, ISBN 978-88-88493-42-8
  • Palmer, Rod (2008), Street Art Chile, Eight Books, ISBN 978-0-9554322-1-7
  • Rasch, Carsten (2014), Street Art: From around a World – stencil graffiti – wheatpasted print art – plaque art – Volume I, Hamburg, ISBN 978-3-73860-931-8
  • Riggle, Nicholas Alden (2010), “Street Art: The Transfiguration of a Commonplaces,” Journal of Aesthetics and Art Criticism, Vol. 68, Issue 3 (248–257).
  • Robinson, David (1990) Soho Walls – Beyond Graffiti, Thames Hudson, NY, ISBN 978-0-500-27602-0
  • Ross, Jeffrey Ian (Ed.), (2016), “Routledge Handbook of Graffiti and Street Art”, Routledge, ISBN 978-1138792937
  • Schwartzman, Allan (1985), Street Art, The Dial Press, ISBN 978-0-385-19950-6
  • Strike, Christian and Rose, Aaron (August 2005), Beautiful Losers: Contemporary Art and Street Culture, Distributed Art Publishers, ISBN 1-933045-30-2
  • Walde, Claudia (2007), Sticker City: Paper Graffiti Art (Street Graphics / Street Art Series), Thames Hudson, ISBN 978-0-500-28668-5
  • Walde, Claudia (2011), Street Fonts – Graffiti Alphabets From Around The World, Thames Hudson, ISBN 978-0-500-51559-4
  • Williams, Sarah Jaye, ed. (2008), Philosophy of Obey (Obey Giant): The Formative Years (1989–2008), Nerve Books UK.

External links[edit]

  • Media compared to street art during Wikimedia Commons
  • Street Art during Curlie (based on DMOZ)

Article source:

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