INSTITUTIONALIZATION OF THE STREET ART AND THE CHANGING NATURE OF THE ARTWORK TAKEN AWAY FROM ITS CONTEXT

Abstract

Graffiti and street art, which are alternative forms of expression and communication developed on the street, have evolved from illegal practices intended for the attention of a limited group, to accepted forms of artistic expression that appeal to the interest and taste of large masses. This transformation brought along academic approval and institutionalization, while many artists responded to this new interest and demand, galleries and museums also made room for these works in their programs. Thus, these practices, which were once considered a criminal element; have been exhibited and sold within institutions by being displaced, reproduced or recreated in studios. In this article, this controversial situation regarding the institutionalization of street art is discussed in the context of the work and possible changes in its nature. For this purpose, focusing on the period called post-graffiti and its aftermath; contradictory situations underlined by the entry of works related to street culture which has evolved into an artistic expression, to institutions such as galleries, museums, and auction houses, are revealed through the transformations that take place in the work itself, its environment, audience, and the audience's experience. In this context, between 2015-2019, in various cities of Germany, Netherlands, İtaly, United States of America and Greece; street art works on the street, in museums, galleries and art fairs are experienced as a spectator and documented through photographs; the collected data were supported by the relevant literature.