Dissertations / Theses on the topic 'Graffiti Graffiti Street art Subculture'

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.

In the tradition of the Birmingham School of cultural studies, this thesis focuses on Miami’s graffiti subculture and the conflicts between market economies and economies of social meaning. As a reference point, I consider Miami’s “Penits”: the name given to the seemingly abandoned buildings where graffiti is performed. Short for penitentiary, the term derives from the 1980s after a large building rumored to be a prison was defunded midway through its construction. After this first reclamation, every other graffiti heterotopia in Miami has been similarly recoded as spaces that mock structures of discipline and industry. Through Michel Foucault’s biopolitical framework I argue that the sovereign state and marketplace conspire to dually criminalize and commoditize the subculture’s performative defiance. I conclude by illustrating how the market itself reinforces the carceral archipelago by framing the subculture’s vandal aesthetic through the normalized, self-interested boundaries of conduct that the market itself deems il/legal.

While graffiti is revered as an art form to some, it is often seen as an unwanted nuisance by others. While vibrantly rich in history, graffiti has a controversial past, present, and future that will likely continue to be the subject of debate, especially with the insurgence of street art, an art form that often overlaps graffiti art in subject matter, media, aesthetic appearance, and placement as a public form of art. Distinguishing between street art and graffiti art proves quite challenging to the undiscerning eye, yet through a series of interviews and thorough investigation, I questioned the contexts of street art and graffiti art. By introducing non-traditional forms of art that are engaging to adolescent students, street art and graffiti art can expand the secondary art curriculum by helping students become more cognizant of current social, visual and cultural aesthetics in their own visual world.

Thesis (M.A. Ed.)--Georgia State University, 2009.
Title from title page (Digital Archive@GSU, viewed July 1, 2010) Melody Milbrandt, committee chair; Melanie Davenport, Teresa Bramlette Reeves, committee members. Includes bibliographical references (p. 49-50).

Nas duas últimas décadas, o graffiti se impôs como um elemento visual das metrópoles brasileiras. Passou a povoar a rotina urbana e, num embate por espaços, vem disputando a visibilidade pública com as cores dos edifícios, as placas de sinalização e outros elementos da comunicabilidade urbana. E o faz mudando a sua proposta e original essência. Este trabalho procura documentar a trajetória do graffitti de meados da década de 1960 até às vésperas da conclusão da pesquisa, em 2011, acompanhando a sua transformação \"do subversivo ao consagrado\". Através da narrativa visual pontuada por uma seleção de 400 fotografias de autoria do pesquisador, destaca-se, em especial, a cidade de São Paulo, onde o trabalho dos grafiteiros vem despertando interesse mundial e não apenas entre adeptos, simpatizantes e editoras especializadas. O graffiti tem sido um interessante campo de estudo para críticos de arte, antropólogos, semiólogos, etc., porém, é na visualidade urbana que tem o maior impacto.
In the last two decades, graffiti has established itself as a visual element of the metropolis in Brazil. It became part of the urban routine, and in a dispute for space has been struggling for public visibility with building colors, traffic signs and other elements of urban communicability. And it does so by changing its intent and original essence. This paper seeks to document the trajectory of graffiti from the mid 1960s to the conclusion of the research, in 2011, following its transformation \"from subversive to acclaimed\". By means of a visual narrative marked by a selection of 400 photographs taken by the researcher, the city of São Paulo is emphasized, where graffiti is attracting worldwide attention and not only among supporters, sympathizers and specialized publishers. Graffiti has been an interesting field of study for art critics, anthropologists, semiologists, and scholars in general, but the greatest impact of this street art is on the urban scene.

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.

Syftet med arbetet är att belysa möjligheter och metoder för ett ämnesövergripande arbetssätt mellan bild och slöjd genom nutida konst-och hantverksfenomen såsom gatukonst och graffitiarterna, samt att undersöka pedagogernas uppfattningar om de sätt genom vilka de arbetar med dessa konst- och hantverksfenomen i undervisning och i sina kurser. Utgångspunkten är att studien ska besvara hur lärarna arbetar ämnesintegrerat mellan Bild och Slöjd och hur pedagogerna förhåller sig till gatukonst och graffitiarterna i sin undervisning och i sin verksamhet. Frågan om hur dessa konstformer kan motiveras som undervisningsinnehåll ska också få svar. Kvalitativa intervjuer har gjorts med informanter med skilda erfarenheter av området, men de är alla lärare, lärarutbildare eller workshopsledare. Resultatet är belyst ur ett sociokulturellt perspektiv och med Foucaults teorier om makt och diskurs. Skillnader och likheter i pedagogers förhållningssätt har synliggjorts och vilken plats gatukonst kan ha i ett skolsammanhang. Synen på Bild och textilslöjd, som i samhället kan motsvaras av konst och hantverk, står inför en förändring och får en ny plats i en samtida kulturkontext.

This paper brings together past and contempary elements that play a role in the body of work, I prepared in the Master's project and which I call, 'Omen Wallpaper'. The title draws on the idea that 'omens' as signs and 'wallpaper', as a decoration somewhat on the periphery, surround us in the urban environment. The paper begins by describing the influences and historical movements from which I have drawn. These range, for example, from. Duchamp, Schwitters to Rauschenberg, Warhol and Basquiat. Many of these traditions share the idea of 'anti-art', particularly 'anti painting', manifested in the use of found materials, text and 'unpainterly' techniques like printing and collage. The paper then moves in to ideas more local to me and this body of work, as for example, graffiti. I explore styles of graffiti and some of the most significant artists of this movement. Artists such as 'Misstic' from Paris and 'Banksy' I also investigate some of the problematics associated with that territory, by describing the conflicts I encounter in my research. I also consider another type of' street aesthetic' that operates in a different way, exploiting the general decay and wear and tear of posters. I focus this part of my enquiry, on the French Nouveaux Realist, Jacques de la Villegle who has worked with this medium since the 1950's. Villegles work began central to my research in Paris as well as becoming a inspiration for adopting the technique of 'affiches laceries' or 'tom posters'. This technique allows one to capture a moment culturally, stylistically and randomly amoung many other things with minimal mediation which became a significant turning point in the development of my own style.

This study examines how social cohesion is built through exchange of urban art. Graffiti and street art are treated like dirt and washed away. Unsanctioned art is often perceived as alien to museums and private homes. Despite this, many graffiti and street artists produce art in studios that are sold in galleries as urban art. Through ethnographic tools and site visits to homes of collectors in the United States and Sweden this study explores what it means to exchange and own urban art. Guided by Émile Durkheim’s theories on social cohesion and Georg Simmel’s writings on social boundaries, sociological implications of material things are investigated. The analysis shows that exchange of urban art produces and affirms social bonds and passionate feelings about belonging to a specific art world. Artworks in private homes symbolically represent unsanctioned art; which makes collectors feel joy, purpose, and confidence. Urban art collectors dodge discursive definitions of art in favor of nondiscursive and pragmatic boundary work. In contrast to a Bourdieusian perspective this study found that art is not as much about reproduction of social hierarchies as about making social life meaningful and connected. The results suggest further research on materiality in times of digital media.

Thesis (BTech (Surface Design))--Cape Peninsula University of Technology, 2010
The purpose of this research is to investigate whether street artists make statements about current socia-political affairs as a form of popular protest and whether those statements can be reflected in another design discipline. such as jewellery design. while reflecting upon the work of Faith47. a South African social commentator. Cultural studies has been referenced as a theoretical framework in relation to cultural sup-groups and. a historic context is provided in order to better understand the significance of social commentary in graffiti, a form of street art produced by social sub-qroup, and made during a period known as Apartheid and currently. in Post-Apartheid South Africa. A range of jewellery then emerged from the research. dealing with the aspects of social-political commentary. as an interpretation of a form of protest art and applied to wearable jewellery. The products incorporate word and images that are provocative and invite the viewer to question and reflect upon what in my view was a contentions and significant period in the history of South Africa.

De nombreuses œuvres plastiques sont nées d'une réflexion théorique et pratique influencée par les questions politiques et sociales. Hormis des différences dans les procédés utilisés, elles sont fédérées par un esprit de rébellion et de contestation. A travers l'examen des rapports entre l'art et la culture populaire, le street art et les phénomènes socio-critiques dans la société de consommation, notre sujet est organisé sur trois axes en quatre parties. Notre intention première va montrer que les artistes modernes ont découvert la valeur artistique des graffitis et de certaines expressions anonymes inscrites sur les murs avec un caractère intellectuel. Ensuite, nous explorerons le sujet dans la perspective de la culture populaire, du regard critique sur l'époque, et de certains critères plastiques qui ont eu de l'influence sur les street artistes en France. Enfin, dans les troisième et quatrième parties, nous étudierons les querelles posées quant à la fonction sociale de l'œuvre d'art, le rôle de l'artiste, le problème éthique de l'artiste, et la valeur artistique véritable dans la culture industrielle et l'art commercial, en déroulant le panorama des activités des street artistes. C'est sur le fondement de cette hypothèse que nous nous sommes posé la question des contenus sociaux/critiques de ce street art et de ses rapports avec la sphère socio-critique qui, lui, est une représentation de l'ère contemporaine. Quant aux deux axes de « la valeur artistique » et de « l'acte rebelle », traitant de la modernité propre à l'art contemporain et des rapports qu'elle entretient avec la vision critique, ceux-ci fondent le mouvement street art, le caractère rebelle ou activiste de cet art et son approche critique du monde de l'art ou de notre société étant indispensables à sa survie en tant que tel. Les méthodologies visent à analyser et à critiquer l'influence politique et sociale de l'image de telle sorte qu'elles permettent de réfléchir sur le champ pratique et théorique de notre étude
Many plastic works were born from a theory and practice influenced by political and social issues. Apart from differences in the methods used, they are united by a spirit of rebellion and contestation. We examined the relationship between art and popular culture, street art and socio-critical phenomenon of this period. Our hypothesis is that this relationship can be defined by the concept of street art, understood as an artistic practice whose connotations are both aesthetic and social a critique and order. It is on the basis of this hypothesis that we questioned the social content / critique of street art and its relationship with the socio-critical sphere which is a representation of the contemporary era. Our first intention was to show, through the graffiti testimony that the modern artists discovered the artistic value of graffiti and some anonymous registrant walls with intellectual expression. Then, this part concerns the prospect of popular culture, critical look at the age and plastics criteria that have had an influence on the street artists in France. Finally, the third and fourth parts deepen the street art movement that became the graffiti art in the history of contemporary art. We study the quarrels offered by the social function of works of art, the ethical problem of the artist's work social function, role, and real artistic value in the industrial culture and commercial art, unrolling a panorama of street artists activities. The two axes of “the artistic value” and “rebellious act”, dealing with contemporary art and its relationship with its critical vision of modernity, those are the foundation of the street art movement, which activist and rebel practice, as an art, and a critical approach towards the art world or our society are essential to its survival as it is. This subject will therefore give us the opportunity to question the true art in our society, a consumer society. Any image that is concerned with the meaning of the pictorial discourse is contentious and feeds on cultural and political antagonisms

The cultural performance of textile graffiti, or yarnbombing, dramatizes women’s contested relationship to the public/privates dichotomies that constitute neoliberal capitalism as well as liberal democracies. Across both of these institutions, privatized matters are problematically excluded from political consideration, and private sphere values—such are nurturance, interdependence, and communalism—are denied their necessity and legitimacy as public goods. Textile graffiti artists furnish an association between public and private life by placing signifiers of domesticity and caregiving onto the public streets, and adorning those nurturant signifiers with political and/or feminist messages. In so doing, textile graffiti functions to politicize caregiving, to highlight its gendered dimensions, and to remind city-goers of caregiving as a public issue and a public good that is necessary to the overall health of a functioning liberal democracy. This study explores textile graffiti from various political, aesthetic, and historical angles in order to situate it within an enduring feminist struggle to re-imagine public/private binaries through valorization of the artifacts, values, and communicative practices that are associated with the private sphere of the home.

A multiplicidade das pinturas e escrituras murais na cidade de São Paulo desde os anos 1970 até os dias de hoje não evidencia uma ordem ou hierarquias que permitam separar uma assinatura rabiscada com um giz de cera em um muro de uma pintura de várias cores com tinta spray, pichação enquanto mero vandalismo do graffiti enquanto pintura mural elaborada. O que o presente trabalho busca mostrar é que cada um dos grandes grupos que compõe as diversas vertentes de pintura e escritura mural praticadas na cidade de São Paulo tem suas próprias matrizes, exemplos e muitas vezes regras estritas de procedimento e valoração interna. A busca por uma separação entre grandes grupos se dá na primeira parte da dissertação, ao sugerir uma história em ordem cronológica dos maiores grupos que se estabeleceram durante o final da década de 1970 e toda a década de 1980, traçando referências e pontos de contato desses grupos com outras práticas análogas no resto do mundo. A segunda parte do trabalho busca estabelecer alguns conceitos que podem ajudar a entender o desenvolvimento de alguns desses grupos e indivíduos. Em seguida o trabalho de alguns praticantes será analisado a fim de propor uma quebra com a linhagem formadora inicial desses mesmos.
The multiplicity of mural paintings and writings practiced in the city of São Paulo, starting in the 1970s until today, could elude a certain order or hierarchies that could allow the distinction between a scribble made with crayon on a wall or a painting made with various spray paint colors, between tagging (often called pichação in Brazil) and graffiti (usually the name given to more elaborate mural paintings). What this work tries to achieve is to show that every major group that forms the different strands of mural painting and writing practiced in the city of São Paulo has its own roots, visual examples, and oftentimes strict rules of proceeding and internal valuation. The search for the separation of these groups will be presented in the first part of the dissertation, which suggests a chronological story of the main groups that were established during the end of the 1970s and throughout the 1980s in São Paulo, tracing the main references and points of contact between these groups and its analogue practices around the world. The second part is concerned with presenting certain concepts that try to help and understand the development of some of those groups and individuals. Following, the work of certain particular individuals will be analysed in order to propose a certain break from the formative lineage of these practitioners.

Street art and graffiti are predominantly made by urban residents to assert their presence in society; address social, political, and economic issues; and transform the physical spaces of a city. Historically dominated by men, the graffiti/street art subcultures are experiencing a rise in the participation by and recognition of women. Existing literature has generally focused on men's involvement, while the discussion of women writers/artists is often limited to how they have remained on the periphery. With the growing use of social media to publicize their artwork and connect with other artists, women are expanding their reach within the subcultures. By adapting traditionally masculine content and approaches to graffiti/street art while incorporating their own perspectives, relationships to the material and social environment, and expressions of identity, women graffiti/street artists are creating unique spaces of artistic expression and transgression, both online and offline. This case study in Oakland, California, uses semi-structured interviews with thirty informants, document analysis, participant observation, and creative practices to examine how women graffiti/street artists change the urban landscape. My research indicates that women artists are both performing and representing their socio-cultural identities, and thus redefining the subcultures in ways that are increasingly nonpatriarchal, nonhierarchical, and decolonial. In contrast to studying only the broad, structural forces in a city, this research contends that examining the individual identities of participants—their lived, daily experience and senses of agency—is crucial for understanding the workings of urban space. This research also contributes to our grasp of how women further important feminist approaches to urban space and dialogue. Situated within the traditions of feminist geography and the geohumanities, this case study aims to contribute to the body of literature on street art and graffiti by emphasizing the transformative impact of women street artists on urban space, urban identities, and an urban aesthetic.

Urban Voodoo mimics semiotic phenomena, which constitute language and functions as a system of signs that intra-act ambiguously within their own system. This project explores the link between the ambiguous signs of the worm, what looks like a mimesis of icons/symbols, and the way in which simulations are caught up in semiotic implications. Urban Voodoo, which followed on from my earlier Project Iroiro, developed language precursors from the study of the marks of the worm, creating different patterns and styles, and generating language-like effects. Using this system of signs, my project explores the idea that humans are part of a system operated by language, and examines the notion that language itself may be disrupted. To explore this, my project is about layers of competing imprints, about 'languages' tagged into spaces occupied by several graffiti artists within a local skate park. Urban Voodoo acts as a new Graffiti system. In mimicry, organisms make themselves resemble others or their environment. Icons 'look like' what they represent; simulation proposes 'to be' what it suggests. These concepts of assimilation and representation will be explored to understand and interrogate the power balance of language systems, starting with a specific local situation, the skate park. Latin; Inter" denotes "among" or "between," so "between symbols" or "among symbols" is a reasonable meaning. "Intra" denotes "within," as "intra muros," meaning "within the walls.". See also http://arden.aut.ac.nz/moodle/login/index.php#_ftn1 Iroiro, the mark of the worm found in nature, under the bark of trees or etched into the surface of seashells. It is these intriguing patterns that are of interest to this research. These marks perform a role in which systems of language surface. See also http://arden.aut.ac.nz/moodle/login/index.php#_ftn2 Graffiti Piece; the terminology used to define larger works of graffiti art as opposed to tagging, a form of territory recognition mark. See also http://arden.aut.ac.nz/moodle/mod/forum/discuss.php?d=3410#_ftn3

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.

This thesis examines the urban graffiti subculture within the cities of New York and London. It was undertaken in an attempt to move beyond some of the negative stereotypes that characterise this subculture, its members and their illegal activities as inherently problematic, pointless and inane. Based on two years of ethnographic fieldwork in London and New York, it argues that graffiti is not senseless and mindless vandalism, but a pursuit that grants its mainly male and adolescent practitioners important and substantial rewards. Most notably these include fame, respect, autonomy, self direction and some sense of masculine status. Illegality is identified as the subcultural element underpinning these identity enhancing affordances. It is presented, firstly, as a masculine resource; a tool which young men can use to confront risk and danger and gain, through this, the recognition and respect of their peers and the defining elements of their masculine identities. Secondly, it is argued that adolescent subcultural members use their illegal status to promote societal rejection, discourage adult intervention and secure their subculture as a 'world apart'. This free space grants them autonomy, self direction and a chance to escape 'real life' and the problems and restraints which they may, as adolescents, experience there. On the basis of this, it is argued that three analytic revisions must be made if we are to understand this and other 'illegal' subcultures. First, we must move away from a passive model of delinquency. In this study, deviance is depicted as deliberate, functional and, thus, more than the consequence of an externally applied label. Second, we must move towards a more active model of identity construction. graffiti writers build and mould their identities through their illegal activities. This defines them as active agents rather than textual subjects who have merely taken up an inscribed position in a provided text or discourse. Third, we must look at what is being done in conjunction with who is doing it. Subcultural studies of the past have presented the subculture as a working class vehicle of resistance. However, they have rarely problematised its characteristically adolescent and masculine membership. Failure to include and analytically weave together factors of age, gender and illegality will, it is contended, result in a theoretically incomplete subcultural account.

The last seven years have been a transformation point for graffiti and street art in Jordan. Due to the constant inequality that women face in Jordan, graffiti and street artists grabbed the first opportunity presented to them in order to address these issues, when the Baladk Street Art Festival took place in the capital of Jordan, Amman. They used this festival as an opportunity to spread awareness and tell stories related to inequality as well as claim their rights. Resistance from conservative groups in the society towards these murals resulted in more restrictions from the municipality about the content of them. However, artists did not back up and fought their way to keep their art on the city’s walls, but they had to work harder in order to disguise the messages they wished to send to the public. Social change was used as the main concept to follow in this thesis in order to arrive at a conclusion that shows the change that had taken place in Jordan due to graffiti and street art, especially social change regarding ideas and social movements as well as political processes. In order to get the people’s, the municipality’s and artists’ perspectives, qualitative methods were used such as interviews and a survey. Results showed that the municipality's position on the effects of graffiti and street on the society as well as the strict regulations are partially the same. In the meantime, interviews with artists and the survey showed the struggle the artists go through when painting and also the change in the people’s behavior that occurred in the last seven years, from the start of the project until now. The survey’s results showed that most of the people understood the exact meaning of the murals and some respondents interpreted the messages according to their experiences. Therefore, it was concluded that graffiti and street art can serve as a prospective tool to drive social change in the Jordanian society, yet not solitarily. Different aspects, such as people’s behavior, shifting norms as well as a change in laws and policies need to work hand in hand in order to achieve the desired change and cause a social and cultural evolution.

Hip Hop graffiti has been marking our urban landscapes for decades. However street art, a much less researched topic, has claimed notoriety in recent years. Much of the existing research groups hip-hop graffiti, gang graffiti and street art together and calls for a uniform response from communities, city officials and law enforcement. While street artists have made their mark in the urban landscapes of the United States as well as internationally, it is important to define the terms "street art"and "graffiti" and where they deviate from one another in order for cities to begin to address these expressions with any level of success. As municipalities grapple with visual public expression--street art and graffiti--a framework must be established taking into consideration legal parameters for both cities and artists.

Orientador: Milton Terumitsu Sogabe
Banca: José Paiani Spaniol
Banca: Eduardo Cardoso Braga
Resumo: 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
Abstract: 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
Mestre

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.

Tese de Mestrado em Arquitectura com especialização em Planeamento Urbano e Territorial
Na procura de uma nova imagem para o estigmatizado bairro da Cova da Moura, apresenta-se uma estratégia de reabilitação urbana que se baseia em algumas especificidades deste território para o tornar um bairro mais permeável e seguro. Num bairro onde abundam os fenómenos criativos e culturais, a Arte Urbana e as Hortas Urbanas manifestam-se como duas utilizações comuns do espaço público, que neste projecto serão exploradas, buscando a manutenção da identidade do local e uma maior legibilidade da sua estrutura urbana. A Arte Urbana faz já parte da cultura visual contemporânea, tendo evoluído e alastrado por todo o mundo, afastando-se cada vez mais da sua conotação com o vandalismo. É esta ascensão, “das ruas para os museus”, que justifica a criação de um novo espaço criativo, inovador e multicultural, uma Escola de Arte Urbana. Um equipamento que surge como o catalisador para o desenvolvimento socioeconómico do bairro, associando-se aos espaços comerciais pré-existentes e fornecendo um conjunto serviços profissionais para o exterior. Pretende-se assim, à semelhança daquilo que aconteceu com o fenómeno da Arte Urbana, que a Cova da Moura possa construir a sua nova imagem, de um bairro criativo, empreendedor e sustentável.
Searching a new image for Cova da Moura’s infamous neighborhood, a urban rehabilitation strategy arises based on some specific territorial characteristics, seeking to achieve a more accessible and safe territory. In a neighborhood where the creative and cultural phenomenon abound, Street Art and Urban Gardens often appear as public space uses, two actions that are explored throughout this project, preserving the local identity and aiming for a more legible urban structure. Street Art already takes part in the contemporary visual culture, it has evolved and spread throughout the world, releasing gradually from the shadow of vandalism. This ascent, that brought street art “from the streets to the museums” validates the conception of a creative, innovative and multicultural School of Street Art. A public service that will work as an agent for the social and economical development of this neighborhood, associating with the existent commercial places, and providing a set of professional services to the outside public. Resembling what happened with Street Art phenomenon, it is intended that Cova da Moura’s neighborhood could therefore build a new image, of a creative, push forward and sustainable neighborhood.

Under senare tid har populariteten samt acceptansen för urban konst successivt ökat hos invånare i samhället. Det arrangeras bland annat olika graffitifestivaler och stora muralmålningar börjar synas mer och mer i våra städer. Graffiti har under många år setts som ett stort samhällsproblem och den har ofta associerats med kriminalitet. Idag associeras graffitti inte i lika stor utsträckning med kriminalitet bland invånarna och det är enklare att inkludera graffitti som en konstform i det offentliga rummet. Graffiti kan också beskrivas som en strävan att visa sig och yttra sig i staden. Även om graffiti idag är mer accepterat finns det fortfarande policy bland annat i Stockholm, gällande att målande och klottrande utan tillstånd ska saneras inom 24h, en så kallad ”nolltolerans för klottring”. Graffiti är oftast olagligt fast det finns ställen som det är tillåtet att måla på. Det kan vara i form av platser eller på så kallade öppna eller lagliga väggar. Ett av de mest populära ställen för att utöva graffiti i Sverige är Snösätragränd i Stockholm som från att vara ett gammalt industriområde utvecklats till ett graffitiområde. Augusti år 2020 påbörjade Stockholm stad rivningen i delarna av graffitiområdet, vilket har aktualiserat diskussionerna kring urban konst som en bortprioriterad konstform i stadsplaneringen. Det finns alltså en växande efterfrågan på konstformen inom samhället men också tecken på rädsla att det kan leda till bland annat brottslighet och nedskräpning. Syftet med denna studie är att skapa djupare förståelse för urban konst och hur urban konst kan inkluderas i stadsplaneringen. Det är således viktigt att undersöka hur offentlig konst inkluderas för att sedan förstå vilka förutsättningar den urbana konstens aktörer har för att uttrycka sin konst i det offentliga rummet. Med bakgrund av litteratur och forskning lyfts kunskap fram kring konst i offentliga rum och urban konst. Vidare har graffitiområdet Snösätragränd som idag står inför rivning, valts som fallstudieområde för att skapa djupare förståelse för ämnet. Fallstudien tillsammans med platsbesök, intervjuer och mejlkommunikation bidrar vidare med en aktuell och fördjupande bild av det studerade fenomenet i sitt sammanhang. Studiens slutsats är att det finns såväl ett behov som en önskan att beskåda och uttrycka urban konst i våra städer. Vidare visar studien på att de ekonomiska medlen för offentlig konst som finns idag är otillräckliga för att möjliggöra för utövare att uppföra och visa sin konst i det offentliga rummet. Å ena sidan vill kommuner begränsa urban konst med motivationen att undvika brottslighet, å andra sidan finns också insatser för att ge plats till konstnärer för att främja denna konstform. Det är slutligen tydligt att det finns olika åsikter om urban konst och om det bör inkluderas i det offentliga rummet. Studien är således viktig för att förstå graffiti som en konstform eller en grogrund för brottslig verksamhet.
In recent times, the popularity and acceptance of urban art has gradually increased among residents of the community. Graffiti festivals are being arranged and large murals are beginning to be seen more and more in our cities. Graffiti has for many years been seen as a major societal problem and it has often been associated with crime. Today, graffiti is not associated to the same extent with crime among residents and it is easier to include graffiti as an art form in the public space. Graffiti can also be described as an effort to show up and express oneself in the city. Even though graffiti is more accepted today, there is still a policy in Stockholm, regarding painting and graffiti without a permit should be cleaned up within 24 hours, a so-called "zero tolerance for graffiti". Graffiti is usually illegal, although there are places where it is allowed to paint. It can be in the form of places or on so-called open or legal walls. One of the most popular places to practice graffiti in Sweden is Snösätragränd in Stockholm, which from being an old industrial area has developed into a graffiti area. In August 2020, the municipality of Stockholm began demolition of parts of the graffiti area, which has brought to the discussions about urban art as a de-prioritized art form in urban planning. There is thus a growing demand for the art form in society, but also signs of fear that it may lead to for example crime and littering. The purpose of this study is to create a deeper understanding of urban art and how urban art can be included in urban planning. It is thus important first to examine how public art is included and then understand what conditions the actors of urban art have for expressing their art in the public space. The knowledge about art in public spaces and about urban art is based on literature and research. Furthermore, the graffiti area Snösätragränd, which is currently facing demolition, has been chosen as a case study area to create a deeper understanding of the subject. The case study together with site visits, interviews and e-mail communications further contributes with a current and in-depth picture of the studied phenomenon in its context. The study concludes that there is both a need and a desire to view and express urban art in our cities. Furthermore, the study shows that the financial means for public art that exist today are insufficient to enable practitioners of urban art to perform and display their art in the public space. On the one hand, municipalities want to limit urban art with the motivation to avoid crime, on the other hand, there are also efforts to make room for artists to promote this art form. Finally, it is clear that there are different views on urban art and whether it should be included in the public space or not. The study is therefore important for understanding graffiti as an art form or a breeding ground for criminal activity.

Dissertação de Mestrado Integrado em Arquitetura, com a especialização em Arquitetura apresentada na Faculdade de Arquitetura da Universidade de Lisboa para obtenção do grau de Mestre.
A Arquitetura e em particular, a observação das formas de apropriação dos dispositivos construídos no seu âmbito, acabam por indiciar valores de identidade local e traduzir através das transformações orgânicas do espaço construído, a especificidade de uma dada comunidade. Algumas dessas transformações ou apropriações, mesmo sem adquirir classificação patrimonial, acabam por perpetuar-se na memória coletiva de um bairro. A reabilitação da Casa Senhorial Quinta das Veigas e da devoluta Escola Industrial Afonso Domingues, pela importância relativa que acabam por adquirir no contexto expresso, será entendida neste trabalho como instrumental para a conceção de um plano para potenciar a regeneração urbana numa parcela da freguesia de Marvila. As ocorrências de transgressões e a quantidade de graffiti na zona demonstram uma iminente capacidade artística da comunidade jovem residente. Devido à falta de oportunidade na região, a maioria da população migra para outros lugares em busca de melhores condições de vida e habitabilidade. Sendo que, uma parte vital dos jovens habitantes que ali permaneceram acabam por devolver na forma representada de um clamor aquilo que recebem da sociedade: originalmente, como enunciado político, que eventualmente se faz acompanhar de um intuito artístico ou que demonstra o potencial para tal. A realização bem-sucedida do Muro-Festival de Arte Urbana (2017), transformando dezassete empenas cegas das edificações do bairro em telas monumentais, viria a cristalizar a energia própria a múltiplas ações espontâneas num projeto integrado de reabilitação urbana através da intervenção artística pictórica. É nesse sentido, reconhecendo o poder transformador da arte e o seu potencial contributo para uma inclusão social, que se desenvolve esta temática como catalisador para a proposta de reabilitação inscrita no presente trabalho final de mestrado.
ABSTRACT: The architecture and, in particular, the observation of appropriation forms of devices built in their scope, end up indicating local identity values and translating through the organic transformations of the built space, the specificity of a certain community. Some of these transformations or appropriations, even without acquiring patrimonial classification, end up perpetuating themselves in the collective memory of a neighborhood. The rehabilitation of the Manor House Quinta das Veigas and the unoccupied Afonso Domingues Industrial School, due to the relative importance that they end up acquiring in the expressed context, will be understood in this thesis as an instrument for the conception of a plan to potentialize urban regeneration in a part of the parish of Marvila. The occurrences of transgressions and the amount of graffiti in the area demonstrate an imminent artistic capacity of the young resident community. Due the lack of opportunity in the region, most of the population migrates to other places in search of better living conditions and habitability. A vital part of the young population that remained living there end up giving back in the represented form of a clamor of what they receive from society: originally, as a political statement, that eventually accompanies an artistic intention or that demonstrates potential for it. The successful occurrence of the Muro-Festival de Arte Urbana (2017), transforming seventeen blind gables from the neighborhood’s buildings into monumental canvases, would crystallize its energy into multiple spontaneous actions in an integrated urban rehabilitation project through pictorial artistic intervention. Under these lenses, recognizing the transforming power of art and its potential contributor to social inclusion, that this theme is developed as a catalyst for the rehabilitation proposal described in this master's degree thesis.
N/A

Cette thèse porte sur une comparaison des pratiques envers la propriété des graffeur.ses, street-artistes, militant.e.s anticapitalistes et antipubs. Partant d’une analyse de la littérature criminologique concernant le vandalisme, cette thèse interroge les figures du « vandale » ou du « casseur » en tant que constructions sociales. Dans la continuité des travaux interactionnistes en sociologie de la déviance et en criminologie post-marxiste, nous interrogeons les dégradations volontaires d’objets matériels à partir des trajectoires et expériences d’acteurs déviants, tout en replaçant ceux-ci dans l’imbrication des rapports sociaux de classe, de sexe et d’âge. L’enquête de terrain procède par ethnographie multi-située, rassemblant seize récits de vie combinés à des observations participantes. Les résultats montrent la formation et l’évolution de « sujets propriétaires » par effets de socialisation aux interactions entre individus, corps et objets matériels dans diverses sphères (familiale, scolaire, professionnelles, sous-culturelles, militantes). La propriété et la possession apparaissent comme des enjeux centraux des rapports sociaux et de la socialisation. Leur naturalisation au sein des rapports de pouvoir participe tant de la réaction sociale au vandalisme que des rapports aux objets et espaces des peintres ou militant.e.s interrogé.e.s. Malgré l’hétérogénéité de leurs positions structurelles ou de leurs trajectoires d’engagement, nous trouvons dans leurs rapports aux objets dégradés, aux pratiques de soin, aux techniques ou encore au contrôle social, une internormativité faisant dominer les normes de propriété formelle sur les normes de possession. Cette thèse explore les rapports de pouvoir contemporains traversant les atteintes à la propriété et apporte une contribution à la sociologie de la déviance, des rapports sociaux et des cultures dominées
This study aims at comparing practices in relation to property among graffiti writers, street artists, anticapitalist and antiproductivist activists. Stemming from an analysis of the criminological literature on vandalism, this thesis explores the notions of “vandals” and “casseur” as social constructs. In line with the interactionnist works in the sociology of deviance and in post-marxist criminology, we question the willful damaging of property based on the trajectories and experiences of deviant actors, while integrating social class, gender and age dynamics in the framework. The fieldwork consisted in a multi-sited ethnography, gathering sixteen life histories combined with participant observations. Results show the formation and evolution of “owning subjects” through socialisation processes, shaping relations between individuals, bodies and material objects in many instances (family, school, work, subcultures, activism). Property and ownership appear as central stakes in social relations and socialisation. Their naturalisation in power relations affects social reactions to vandalism as well as the relations to material objects shown by the participants. Despite heterogeneous positions in the social structure and different trajectories in relation to deviance, we find in their relation to damaged objects, in their caring practices, in their techniques or in their relationship to social control, an internormativity ensuring the dominance of formal norms over informal ownership. This study explores power relations in contemporary France and in property crimes, and contributes to the sociology of deviance, sociology of social structure and critical criminology

The concept of the city has come to play a central role in the practices of a new generation of artists for whom the city is their canvas. Street art is a complex social issue. For decades, its presence has fueled intense debate among residents of modern cities. Street art is considered by some to be a natural expression that exercises a collective right to the city, and by others, it is seen as a destructive attack upon an otherwise clean and orderly society. This research focuses on various forms of street art from the perspective of the urban audience. The general aim is to further an understanding of how people interact with and respond to street art. Qualitative and quantitative data were gathered via direct participant observations of street art installations and 139 surveys conducted with residents in Portland, Oregon. Survey respondents distinguished between street art forms; generally preferring installations and masterpieces over tagging and stickers. More respondents considered graffiti to be a form of artistic expression, rather than an act of vandalism. Participant observations indicated that purposefully-designed street art can promote interaction between people, art, and public space. Random urban spectators became active collaborators; using art and performance to express themselves in public. These findings indicate there is a need to reconsider zero tolerance graffiti policies. Overall, these findings also contribute to a more informed discussion regarding the regulation, acceptability, and possibilities of unauthorized artistic expression in cities.

Tese de Mestrado em Design de Comunicação,
No contexto contemporâneo urbano que se vive, a ocupação do espaço público pela parte da sinalética e publicidade contribui fortemente para a definição da imagem da cidade. No entanto, não são somente estes dois movimentos que intervêm e que acabam a caracterizar os espaços. É possível discernirem-se outros meios comunicativos que partilham o acto de comunicar ao transeunte. Apresente-se o graffiti e a street art. Esta dissertação pretende questionar o papel do designer gráfico na paisagem urbana. Através de uma análise de movimentos urbanos e contra-culturas como o graffiti e a street art objectiva-se, com o documento aqui apresentado, investigar as suas influências na prática comunicacional aplicada às cidades. Actualmente começam a explorar-se novos campos de intervenção e novos media por parte dos designers. Como poderão eles ajudar à personalização/humanização da cidade? Pode o designer incorporar no seu projecto sabedorias de outros movimentos actuantes no meio urbano? Apoiada numa extensa revisão bibliográfica esta dissertação caracteriza os movimentos de graffiti e street art, as actividades do branding e do design de comunicação e relaciona todos estes factores intervenientes do espaço urbano para apontar novos focos de interesse na relação do design de comunicação com o espaço urbano.
Nowadays, the occupation of public space by signage and advertising industry is a defining factor of the urban landscape. However, these movements are not the only intervenients and are not the only ones characterizing the surrounding spaces. It is possible to find other communication media that share the act of communicating with the city. Meet graffiti and street art. This dissertation intends to question the graphic designer’s role in the city layout. The purpose of this document is, through an extensive analysis of urban movements and counter cultures like graffiti and street art, to investigate its influences in usual urban communication. Currently, the exploration of new fields of intervention and new media by graphic designers is emerging. How may they help the city finding more humanizing environment hypothesis? Could the designer incorporate in his work knowledge from other acting movements in the urban space? Based on a thorough bibliographic research, this dissertation characterizes graffiti and street art movements, as well as branding and communication design to better relate them as intervenient factors in the urban landscape. In this way, it is possible to indicate new points of interest in the activity of communication design when related to the public space.

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.

Within curatorial practice, graffiti has come to little attention. On the occasion of the street art hype during the 2000s, graffiti appeared only as a minor component. Considering, that graffiti remains an undefined and mostly illegal and uninstitutionalized practice, the fact that it is not a common exhibition topic seems self-evident. However, graffiti is a globally and publicly present form of visual output and communication which upon closer look reveals conceptual depth and complexity. Therefore, this thesis investigates illegal graffiti in urban space and the possibility of curatorial approaches. Using the theoretical framework of Henri Lefebvre’s writings on the city, graffiti in urban space is conceptualized and analyzed. Possible readings and understandings of graffiti are highlighted. On the basis of such, past curatorial practices with and research on graffiti are outlined and discussed. Finally, the thesis aims to establish an understanding of graffiti as an institution of its own. For a productive curatorial approach to graffiti, an awareness of that division is considered crucial.

Since the 1970s, when neoliberal policies and changing consumer patterns began remaking cities, scholars have conducted research about gentrification. In New Orleans, these studies have helped explain the demographic and economic shifts in some neighborhoods. However, there has been limited focus on the built environment aspects of gentrification in New Orleans, specifically the interpretation of the external aesthetic shifts in streetscapes as part of the gentrification process. This thesis examines the relationship between these aesthetics, primarily graffiti and street art, and the gentrification process, as perceived by various stakeholders in two New Orleans neighborhoods: St. Roch and Bywater. Using empirical, qualitative evidence, this thesis argues that graffiti and street art signify a culture and aestheticization of gentrification. Research methods for this thesis include participant observation, semi-structured interviews and discourse analysis. Keywords: Gentrification, New Orleans, Bywater, St. Roch, graffiti, street art, neighborhood change, blight, disinvestment, revitalization, creative class, neoliberalism, race, authenticity

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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

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

The purpose with this essay is to examine and create an understanding for what meaning graffiti and street art has for those who practice it. Furthermore, the practice of graffiti and street art is seen in relation to how urban space is produced. Five semi-structured interviews and one group interview has been made to answer the questions "What meaning does graffiti and street art has for those who practice it? Can it be seen as a way to construct identity?" "How do the artists relate to existing ideals about public space?" and "Does the artists see graffiti and street art as a resistance against the normative representation of the city, in that case, how?" The theoretical framework consists of Mitchell's ideas about public space, Tonkiss' definition of social order, Lefebvre's spatial triad, de Certeau's concept of strategy and tactics, the concept of appropriation and Castell's theory about collective identity. The results showed that the practice of graffiti and street art can be understood as a more complex practice than earlier research has shown. Four different dimensions of meaning could be distinguished. Together the four different dimensions expressed an understanding of graffiti and street art practices as a collective resistance identity. The essay also shows that street art and graffiti artists have a more including ideal about public space.

Utställningsrummet för gatukonst växte fram långsamt på Kronobergsgatan 35. Genom att följa utvecklingsprocessen, platsen och verken som visats undersöker jag hur väggen växer fram till en hybrid som inte bara är ett utställningsrum. Det är även centrum för urban konst i Stockholms offentliga rum. Utställningsrummet är ett ovanligt inslag i en stad som fortsatt är präglad från en långvarig nolltolerans. Curering av väggen återspeglar ett utbildningssyfte för att visa att graffiti är mer än klotter. Jag undersöker vilka aktörer som är inblandade och deras mål med väggen utifrån curating teori. Väggen har flera intressenter. Kollektivet Livet som curerar väggen har en bakgrund inom graffiti och i sitt arbete att etablera konstformen kommer de även närmare att institutionalisera den, något som går emot dess historiska roll som subkultur. I mitt arbete studerar jag var utställningsrummet placerar sig i förhållande till graffitikulturen kontra konstinstitutionen. Fastighetsägaren står för resurserna och ser mot förmodan en slags vinst i sin investering, jag har döpt denne till konsthandlaren som förmedlar konsten till betraktaren. Att konsthandlaren associerar företaget till kulturella åtaganden gynnar företagsprofilen i ansamlande av kulturellt kapital. Utställningsrummet är även starkt påverkat av dess position i Stockholms centrala offentliga rum. Det skapar debatt om vem som får ta plats i stadsrummet och vilken konst som bör finnas, en debatt som curatorn välkomnar. Det är en debatt som potentiellt involverar hela staden, där alla är potentiella konstkritiker. Görandet av plats skapas i samverkan mellan tjänstemännen som formar stadsrummet och aktörerna som verkar i det. Jag undersöker denna samverkan och hur de förhåller sig till sina motsättningar.
I have followed the process of development of Kronobergsgatan 35 as an exhibition room for street art and graffiti in Stockholms public space. By interviewing the curators and analyzing with referens to institutional- and curating theory my aim has been to investigate the surrounding circumstances for said exhibition. Stockholm has a history of zero tolerance which makes this exhibition room a rare sight. The curators has, with an educational agenda, wanted to normalize graffiti as an artform but in so doing places the exhibition somewhere between it's subcultural history and the established art institution. The wall is made possible by the contribution of the property owner. I investigate the possible purposes of this investment and how association with culture affiliations could have positive effect on a business profile by obtaining cultural capital.  As an exhibition room in public space it works with and in contrast to the official public art of the city. I investigate this relationship between official and unofficial public art and the discussion of a democratic public space.

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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.

Si le « Street art » constitue aujourd’hui un élément indissociable du paysage urbain, et si sa reconnaissance du point de vue artistique ne fait aucun doute, son appréhension et son traitement par le droit demeure problématique et soulève de nombreux questionnements. Dès lors que cette forme d’expression répond aux critères du droit d’auteur, l’œuvre est protégée et bénéficie des mêmes droits et prérogatives que d’autres œuvres plus classiques dirons-nous, telles que des peintures de Maîtres, des œuvres littéraires des plus belles plumes de ce monde… Toutefois, lorsque leur créateur décide de mettre en scène son art sans considération pour le propriétaire du support sur lequel il s’inscrit, cette protection même si légitime est remise en cause. Le droit pénal ou encore le droit des biens par exemple se hissent face au droit d’auteur, et des compromis doivent être trouvés pour apaiser les tensions découlant d’une telle pratique. Propriétaire ou auteur, doit-on forcément n’en favoriser qu’un ?
Although « Street art » is today an inseparable part of the urban landscape, and its artistic recognition is beyond doubt, its apprehension and treatment by law remains problematic and raises many questions. As long as this form of expression meets the criteria of copyright, the work is protected and enjoys the same rights and prerogatives as other more classical works, we shall say, such as paintings of Masters, literary works of the most beautiful feathers of this world... However, when their creator decides to stage his art without consideration for the owner of the medium on which he fits, this protection even if legitimate is called into question. Criminal law and property law, for example, rise up to copyright, and compromises must be found to ease tensions arising from such a practice. Owner or author, do we necessarily have to favour only one?

I jakten på gatukonst har vi i detta kandidatarbete undersökt hur gatukonst kan utvecklas genom nya tekniker och hur plats och gatukonst samspelar och påverkar varandra i ett berättande. För att ta del av hur gatukonst ser ut och används i olika kulturer och miljöer valde vi att resa genom Europas städer och dokumentera gatukonst för att få ett bredare perspektiv. Genom att flyga och tågluffa har vandring och etnografi varit vår metod då vi har rest och vandrat för att kunna skapa denna undersökning. I våran gestaltning vill vi utmana gatukonst och dess gränser och har valt att göra det med augmented reality som verktyg för att skapa platsbaserad gatukonst som kan upplevas ur ett digitalt format i verkligheten. Genom augmented reality kan städer och områden ha gatukonst placerade på byggnaderna trots att det inte finns fysiskt. Det möjliggör ett alternativt sätt att utforska gatukonst genom en digital värld.
In the search for street art we’ve in this project explored how street art can be developed through new techniques and how space and street art interact and influence each other in a narrative way. To find out what street art looks like and how it’s used in different cultures and environments we chose to travel through Europe's cities to document the street art from a broad perspective. By flying, traveling and hiking we have been using walking and ethnography as our methods to create this study. In our design process we want to challenge street art and it’s boundaries and have chosen to do so with augmented reality as a tool for creating site-based street art that can be experienced from a digital format in reality. Through augmented reality, cities and areas can have street art placed on the buildings even though it does not exist physically. It enables alternative ways to explore street art through a digital world.

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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.

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.

My project takes place in Athens, address Lagoumitzi 15. The plan is to undertake and give life to the huge skeleton-like unfinished structure there. I transform the "skeleton" to a center for urban art, street art. My ambition is for the buidling to become the epicentre for street art in Athens. Since I am designing the building for a non-conformist group of people, graffiti artists, I choose to approach the project by trying to mimic the parasitic art form that is graffiti, in architecture. I wanted the building to radiate the same energy as the artform it is devoted to, and its intended users. The method I am working with is a parasitic method originally by Andrew Benjamin.

Esta investigação é o levantamento, observação e análise da arte espontânea na rua, uma manifestação específica de arte de rua, em regiões e período determinados. Procuramos estudar a arte espontânea na rua como um processo, ações que implicam em transformações na cidade, sem vínculos econômicos, nem relações diretas com instituições artísticas. Buscamos de entender a dinâmica desta ação voluntária, através de teorias sobre a cidade, o urbano, o espaço público, a esfera pública, o lugar, o território e o indivíduo na atualidade, em um contexto de globalização. Utilizamos também informações diretas de fontes primárias, obtidas em um trabalho de campo, efetuado de 2005 a 2009 nos bairros Raval em Barcelona e Vila Madalena em São Paulo. Os fundamentos teóricos são analisados nos capítulos iniciais, com o objetivo de considerar as possíveis implicações desta manifestação no fluxo abstrato das dinâmicas sociais, culturais e individuais, no ambiente urbano e na realidade concreta, física e material da cidade. A diferenciação destes parâmetros espaciais estão definidas a princípio, quando situamos a arte espontânea na rua entre o espaço público e a esfera pública. Uma vez definido e delimitado o objeto de estudo nos espaços onde se realiza, voltamos a atenção para as especificidades das ações em cada bairro estudado, através do trabalho de campo, mapas, percursos, documentação fotográfica e entrevistas: referências para análises e comparações de características técnicas e comportamentais. Durante o desenvolvimento do trabalho, observamos que o objeto de estudo se apresentou de diversas maneiras, variadas e mutáveis, em cada contexto específico. O trabalho de campo, os fundamentos teóricos, os índices e o exame das informações obtidas nos bairros oferecem como resultado final considerações e reflexões sobre a arte espontânea na rua e sua relação com o ambiente urbano e a cidade.
This study is an assessment, an observation and analysis of the spontaneous art in the streets, as a specific manifestation of the street art, in certain regions in a determined period of time. We have tried to study this particular form of street art as a process, an action that culminates in the city’s transformation without any institutional nor economical links. We seek to understand the dynamic of such volunteer action through theories related to the street art: the city, the urbanism, the public space, the public sphere, the individual, place, territory and globalization. We have also utilized primary sources from field research executed between 2005 and 2009 in the neighborhoods of Raval in Barcelona and Vila Madalena in São Paulo The theory and the field research are evaluated in the initial chapters, with the objective to understand the possible implications of this spontaneous form of street art in the abstract flow of the social, cultural and individual dynamics in the urban environment context and its impact in the concrete city reality. The differentiation of this spatial parameters are defined in the beginning by situating the street art between public spaces and the public sphere. Once defined and delimited the object of study where it is demonstrated, we turn our attention to the specificities of the actions in each neighborhood evaluated, through field research, maps, photos and interviews that are used as a reference to analyze and compare the technical and behavioral characteristics. Through out the development of this research we have observed that the object of this study presented itself in a variety of forms and changeable ways in each specific context. The field research, the theoretic fundamentals, indexes and the evaluation of the information gathered in the Raval and Vila Madalena resulted in some considerations and conclusions in regards to the spontaneous art in the street and its relationship with the urban environment and the city.

Graf ti and street art are two young artistic and expressive manifestations present - both directly or indirectly - in the day-to-day life of almost anyone. Beyond their initial categorization as vandalistic expressions far from the perception of an organized society, graf ti and street art have transformed the conception of mural art and regained its importance again in the public environment. Despite the rejection that these practices have suffered for years - due to the illegal condition of their actions -, many people do not pay attention to those particularities, and focus on what the artworks have to offer to the environment. On the one hand, this produces the promotion of maintenance campaigns to keep them in their best state inside - or outside - from where they were created. But, on the other hand, the procedures, the techniques and the concepts, differ from a traditional practice, so that, due to the youth, general incomprehension and variety of materials, studies related to their conservation in this matter are scarce. The research made for this doctoral thesis tries to compensate this shortage, initiating a search on mechanisms of conservation and restoration applicable to those typology of artworks. In order to achieve this, it has been completed a rst approach to understand their concepts, objectives, relationships with the environment and procedures. Similarly, the research has focussed in the application of a particular conservation system: the strappo detachment; adapting this mechanism to aerosol mural paint as a last safeguard avaliable. For all this, the research in this doctoral thesis is divided into two distinct but continuous parts, the theoretical corpus and the experimental corpus, which are distributed as follows. Firstly, the theoretical corpus, deals with all those questions related to the understanding of contemporary graf ti as a social artistic movement, begun in the late 1960s in the United States. In addition to its relationship with other artistic practices, and with it, the development of what is known nowadays as street art. At the same time, it is exposed the importance that both forms of independent public art have supposed for the contemporary mural art and the peculiarities that the aerosol painting offers within it. And, nally, the possibilities of the application of conservation and restoration processes on the same practices. Also, considering the opinion of graf ti writers and street artists, the public support, and the criteria and adaptations needed in behalf the restoration in contemporary times and speci cally, the use of the detachment systems. Secondly, the experimental corpus, which focusses on the application of the strappo system following the re ections provided by the theoretical corpus. This part presents an in depth study of material possibilities in the application of strappo on murals made with aerosol paint, a fundamental technique in graf ti and very recurrent in street art murals. In this way, structured trials are presented in which diverse materials are combined. The results are evaluated both during and at the end of the processes, individually and in general. Also, all the trials used have the objective to analyse the changes present in their surface. This research aims only to open the way to the possibilities of conservation of these alternative artistic practices, adapting some particularities of graf ti ans street art to the perspective of art restoration.
El gra ti y el arte urbano son dos manifestaciones arti'stico-expresivas relativamente jo'venes, pero presentes -directa o indirectamente- en el di'a al di'a de casi cualquier persona. Ma's alla' de su encasillamiento inicial como expresiones vanda'licas alejadas de la percepcio'n de una sociedad organizada, el gra ti y el arte urbano han transformado la concepcio'n del arte mural y recuperado su importancia nuevamente en el entorno pu'blico. A pesar del rechazo que estas pra'cticas han sufrido durante an¿os -por el condicionante ilegal de sus acciones- son muchos los que no atienden a este hecho y se centran en lo que tales obras ofrecen al entorno. Por un lado, esto produce la promocio'n de campan¿as por el mantenimiento de las mismas en su mejor estado dentro -o fuera- de donde fueron creadas. Pero, por otro lado, sus procedimientos, te'cnicas y tambie'n conceptos, di eren de una pra'ctica tradicional; por lo que, su juventud, incomprensio'n y variedad de materiales producen que los estudios relativos a su conservacio'n sean escasos en este tema. La investigacio'n de esta tesis doctoral intenta suplir esa escasez, iniciando una bu'squeda hacia mecanismos de conservacio'n y restauracio'n aplicables a esta tipologi'a de obras. Para ello, se ha realizado un acercamiento hacia sus conceptos, objetivos, relaciones con el entorno y procedimientos; y al mismo tiempo, se ha estudiado un sistema de conservacio'n aplicado a las obras de tipologi'a mural, en concreto, el arranque a strappo sobre pintura en aerosol, planteado como medio de salvaguarda aplicable en u'ltima instancia. Por todo ello, la investigacio'n en esta tesis doctoral se divide en dos bloques diferenciados pero continuos, el corpus teo'rico y el corpus experimental, los cuales se distribuyen de la siguiente manera. En la primera parte, el corpus teo'rico, se tratan todas esas cuestiones relacionadas con el entendimiento del gra ti contempora'neo como movimiento arti'stico social, iniciado a nales de los an¿os 60 en Estados Unidos, su relacio'n con otras pra'cticas arti'sticas, y con ello, el desarrollo de lo que hoy se conoce como arte urbano. Al mismo tiempo, se expone la importancia que ambas formas de arte pu'blico independiente han supuesto para el entendimiento de la pintura mural contempora'nea y las particularidades de que la pintura en aerosol ofrece dentro de ella. Y, por u'ltimo, se evalu'an las posibilidades de la aplicacio'n de la conservacio'n y restauracio'n sobre las mismas pra'cticas, teniendo en cuenta la opinio'n de los escritores de gra ti y artistas urbanos, la realidad actual respecto a la opinio'n del pu'blico y los criterios y adaptaciones con relacio'n a la restauracio'n en e'poca contempora'nea, y el empleo de los sistemas de arranque. En la segunda parte, el corpus experimental, se realiza la aplicacio'n del sistema de arranque a strappo siguiendo las re exiones aportadas por el corpus teo'rico. Realizando un estudio en profundidad de posibilidades materiales en la aplicacio'n del strappo sobre murales realizados con pintura en aerosol, te'cnica fundamental en el gra ti y muy recurrente en el arte urbano mural. De este modo, se exponen ensayos estructurados en los que se combinan materiales diversos, cuyos resultados se evalu'an a lo largo y nal de los procesos. Tal evaluacio'n de los ensayos se realiza tanto individualmente como en conjunto, aplicando sistemas de ana'lisis generales y especi' cos, focalizados en los cambios presentes en la super cie de las pinturas empleadas en los ensayos. Esta investigacio'n pretende u'nicamente abrir camino hacia las posibilidades de conservacio'n de estas pra'cticas arti'sticas alternativas, adaptando cuestiones particulares de las mismas a la perspectiva de la restauracio'n.
El gra t i l'art urba¿ so'n dues manifestacions arti'stic-expressives relativament joves, pero¿ presents -directa o indirectament- en el dia a dia de qualsevol persona. Me's enlla¿ del seu encasellament inicial com a expressions vanda¿liques allunyades de la percepcio' d'una societat organitzada, el gra t i l'art urba¿ han transformat la concepcio' de l'art mural, i han recuperat la seua importa¿ncia novament en l'entorn pu'blic. Malgrat el rebuig que aquestes pra¿ctiques han sofert durant anys -pel condicionant il·legal de les seues accions- so'n molts membres del pu'blic els que no atenen a aquest fet i se centren en gaudir el que tals obres ofereixen a l'entorn. D'una banda, aixo¿ produeix la promocio' de campanyes pel manteniment de les mateixes obres en el seu millor estat dins -o fora- d'on van ser creades. Pero¿, d'altra banda, els seus procediments, te¿cniques i tambe' conceptes, difereixen d'una pra¿ctica arti'stica tradicional. D'aquesta manera, la seua joventut, la incomprensio' a la qual s'enfronten i la varietat de materials que utilitzen, produeixen que els estudis relatius a la seua conservacio' siguen escassos. La recerca que es troba en aquesta tesi doctoral intenta suplir aquesta escassetat, iniciant una cerca de mecanismes de conservacio' i restauracio' aplicables a aquesta tipologia d'obres. Per aixo¿, s'ha realitzat un acostament als seus conceptes, objectius, relacions amb l'entorn i procediments; i al mateix temps, s'ha estudiat un sistema de conservacio' aplicat a les obres de tipologia mural, en concret, l'arrencament a strappo sobre pintura en aerosol, plantejat com a mitja¿ de salvaguarda aplicable en u'ltima insta¿ncia. Per tot aixo¿, la recerca en aquesta tesi doctoral es divideix en dos blocs diferenciats pero¿ continus, el corpus teo¿ric i el corpus experimental, els quals es distribueixen de la segu¿ent manera. En la primera part, el corpus teo¿ric, es tracten totes aquestes qu¿estions relacionades amb l'enteniment del gra t contemporani com a moviment arti'stic social, iniciat a la dels anys 60 a Estats Units; la seua relacio' amb altres pra¿ctiques arti'stiques; i tambe', el desenvolupament del que avui es coneix com a art urba¿. Al mateix temps, s'exposa la importa¿ncia que ambdues formes d'art pu'blic independent han suposat per la pintura mural contempora¿nia i les particularitats que la pintura en aerosol ofereix dins d'ella. I, nalment, s'avaluen les possibilitats de l'aplicacio' de la conservacio' i restauracio' sobre les mateixes pra¿ctiques, tenint en compte l'opinio' dels escriptors de gra t i dels artistes urbans, la realitat actual respecte a l'opinio' del pu'blic i els criteris i adaptacions en relacio' amb la restauracio' en e¿poca contempora¿nia, aixi' com els sistemes d'arrencament. En la segona part, el corpus experimental, es realitza l'aplicacio' del sistema d'arrencament a strappo seguint les re exions aportades pel corpus teo¿ric. Realitzant un estudi en profunditat de possibilitats materials en l'aplicacio' d'aquest sistema de conservacio' sobre murals realitzats amb pintura en aerosol, te¿cnica fonamental en el gra t i molt recurrent en l'art urba¿ mural. D'aquesta manera, s'exposen assajos estructurats en els quals es combinen materials diversos, els resultats dels quals s'avaluen al llarg i nal dels processos. Tal avaluacio' dels assajos es realitza tant individualment com en conjunt, aplicant sistemes d'ana¿lisis generals i especi' cs, focalitzats en els canvis presents en la superfi'cie de les pintures emprades en les provetes. Aquesta recerca prete'n u'nicament obrir cami' cap a les possibilitats de conservacio' d'aquestes pra¿ctiques arti'stiques alternatives, adaptant qu¿estions particulars de les mateixes a la perspectiva de la restauracio'.
Amor García, RL. (2017). ANÁLISIS DE ACTUACIÓN PARA LA CONSERVACIÓN DE GRAFITIS Y PINTURA MURAL EN AEROSOL. ESTUDIO DEL STRAPPO COMO MEDIDA DE SALVAGUARDA [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/89086
TESIS

Orientador: Pedro Peixoto Ferreira
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: Há artes de fazer a cidade das quais todos formamos parte. Este trabalho nasceu com a preocupação pelo esvaziamento e esquecimento do espaço público: especificamente interessado pelas intervenções artísticas e outras inscrições urbanas espontâneas que aparecem e perduram fora duma ordem urbana planificada. A pesquisa de campo focou-se sobre a rede de relações em e desde a cidade de São Paulo (SP), e ao mesmo tempo em comunicação com artistas e cenários de fora: de outras partes do Brasil, assim como de Latino América e da Europa. Tomaram-se em conta de dois lados tanto os mundos artísticos em si mesmos, quanto os mundos sociais que interatuam com o entorno, e com as pessoas que habitam e circulam pelas ruas. A procura principal do trabalho foi aportar elementos para analisar como as intervenções afetam ao entorno e afetam a maneira em que as pessoas relacionam-se entre si e com a rua mesma. Trabalhou-se sobre os seguintes eixos: - Entender como veio a se polarizar a pixação do graffiti - Resgatar o valor heurístico do relato de um artista - Considerar as mutações do graffiti desde os mundos artísticos e fora deles - Etnografiar um espaço continuamente intervenido - Ver censura menor como indicio de mudança do uso do espaço público Algumas partes da cidade ressaltam pela intensidade e a maneira em que circulam fluxos: de pessoas, de intervenções, de meios de mobilidade. Algumas destas forças são oferecidas e tomadas pelos poderes do capital e das autoridades. Outras não. Assim, crescem jeitos de habitar a cidade, em vez de somente circula-la de um espaço fechado a outro
Abstract: There is art in the making of the city. We all are a part of that construction. This work originated from the concern about the stripping and leaving aside of public space: specifically interested in the defiance of urban interventions and other spontaneous inscriptions that appear and endure aside from a pre-planned urban order. Fieldwork focused on the web of relations sustained in and from the city of São Paulo (SP), and at the same time in communication with artists and scenarios from elsewhere: from other parts of Brazil as well as from Latin America and Europe. A two-fold consideration approached the art worlds in themselves, as well as the wider social worlds involved in interacting with the environment, and with the people that inhabit and circulate along the streets. The fundamental aim in this work was to contribute elements to analyze how interventions affect the environment's atmosphere and the way in which people interact with each other and with the street itself. The work centered on: Understanding how pixação became polarized apart from graffiti; Rescuing the heuristic value of the account of an artist; Reviewing the mutations of graffiti from within and outside the art worlds; Etnographing a continually intervened space; Considering decreasing censorship as sign of change in use of public space. Some parts of the city stand out by their intensity and the way in which fluxes (of people, of interventions, of means of mobility) circulate. Some of these forces are offered and taken by the powers of capital and authorities. Others are not. In this manner, new forms of inhabiting the city grow, instead of just circulating it from one enclosed space to another
Mestrado
Sociologia
Mestre em Sociologia