Street Art Research Articles

HoulArt: Wit and Public Inspiration

James Houlcroft, also known as Houl, is a street artist and teacher whose public art investigates our relationship with nature and environmental knowledge. His clever and witty artworks can be found in streetscapes, galleries and festivals. In this article, James reflects on the knowledge-oriented, educational and inspirational role of street art – street art as public pedagogy – in the various media and formats he explores in the Australian capital and beyond.

Rebel spirits at sea: Disrupting EUrope’s weaponizing of time in maritime migration governance

In August 2020, a motor yacht formerly owned by French customs authorities set sail in the Mediterranean Sea in search of migrant boats in distress. Funded by the street artist Banksy, the search and rescue engagement of the Louise Michel was meant to prevent both the continuous loss of migrant lives at sea and mass interceptions to North Africa. Assessing her maiden voyage and strategic conception, as well as her operational and political impact, the article argues that the intervention of the Louise Michel and her activist crew can be regarded as an attempt to disrupt EUrope’s ‘weaponization’ of time in the governance of maritime migration. Over recent years, EU member states have sought to systematically decelerate rescues while accelerating interceptions of escaping migrant boats. With her speed, unprecedented in the ‘civil fleet’ and on a par with EUropean and Libyan naval assets, the activists have sought to disrupt the EUro–Libyan interception regime which has led to the forced return of over 120,000 people to Libya since 2016.

Island Design Camps—Interactive Video Projections as Extended Realities

Over the course of seven years during ten events, the author explored real-time interactive audiovisual projections, using ad hoc and portable projections and audio systems. This was done in the specific location of Cockatoo Island in the waters of a part of Sydney Harbour, Australia. The island offers a unique combination of the remnants of a shipyard industrial precinct, other buildings, and increasingly restored natural environment. The project explored real-time audiovisual responses through projected overlays reminiscing the rich history and past events, interactively resonating with the current landscape and built environment. This included the maritime industrial history, as well as other historical layers such as convict barracks, school, and the significance of the location for Australia’s original inhabitants before colonisation by the British started in 1788. But most prominently, the recent use of the island for large scale art projects (such as the Outpost street art festival in 2011, and over a decade of use as part of the Sydney Biennale of Art, and the use of the island for film sets). This was a rich source of image material collected by the author and used to extend and reflect on current realities. By using the projections, overlaying and extending the present reality with historical data in the form of sounds and video, dialogues were facilitated and a conflation of past and present explored. The main activity were the VideoWalks, where the author, using a custom built portable audiovisual projection system and a bank of audiovisual material was able to re-place sound and video of previous events in the present context, in some instances whilst delivering a performative lecture on the way. The explorations are part of the author’s Traces project, exploring traces and remnants of past events and how these can inform design approaches. The project over the years also developed an element of recursion, by using footage of an earlier projection into the current, the footage of which was then used in the next event, and so on—up to five layers of extended reality.

5613274 “A PICTURE IS OFTEN WORTH MORE THAN MANY WORDS: STREET ART AS EMPOWERMENT FOR SICKLE CELL DISEASE PATIENTS” JACKELINE ELIZABETH MARAN1, MARINA PERDIBON1, ILARIA BAIDO1, MICHEL NKONGNE GYSLENE2,FABRIZIO CANONICI2, VANIA MUNARETTO3-4, GIULIA REGGIANI3-4, LAURA SAINATI4, ALESSANDRA BIFFI3-4, RAFFAELLA C

Background: Sickle Cell Disease is a genetic and chronic disease which carries a great burden of recurrent symptoms, acute and chronic complications and stigma therefore greatly impacting quality of life and self-perception. Teenagers and young adults often do not want to talk about their disease or do not know how to communicate their experience to others. “Blood Artists”, was a multistakeholder campaign conducted in Italy (a collaboration between Universities, Hospitals, Pharmaceutical Companies, Patients’ Organizations) to raise awareness on Sickle Cell Disease and Thalassemia. Aims: Its main objective was to make people understand, through the direct language of street art, what it means to live Sickle Cell Disease or Thalassemia, two hereditary blood disorders that afflict thousands of people in Italy. The goal was to raise awareness among the public, especially young people, to make them understand how the disease impacts life and that some simple gestures, like blood donation, can help treatment. The street art initiative involved several italian cities including Padua. Methods: Several meeting with representatives of the Sickle Cell Disease Association (Associazione Malattia Drepanocitica) and the artis were organized to communicate the patients’ experience in living with SCD. Following the testimony of each patient, a draft of the painting was produced and then shared with the patients who commented and added their further contribution. Results: The Artist SteReal donated a wall painting- Street Art painting-, on the wall facing a very busy street of the Pediatric Hematology Oncology and Bone Marrow Transplant Unit of the Azienda-Hospital University of Padua, Veneto Region Reference Center for the Diagnosis, Care and Treatment of SCD in Childhood and ERN-EuroBloodNet Center of Expertiese. In the Street Art (Figure 1) the 3 individuals with SCD expressed what they thought were the most significant and common aspects of SCD: 1)The mural depicts the image of a mother and daughter playing together, and symbolizes’ the genetic transmission of the disease but also the importance of the family bonds in the patients’ lives and in disease coping; 2) the lightning which arrives suddenly and symbolizes the vaso-occlusive crisis pain symptom that disrupt everyday life; 3) the petals of the daisy that, flying in the wind take the Sickle shape of red blood cells, to represent the disease from a clinical and scientific point of view, but also the renaissance of life that can flourish in spite of the disease. Conclusions: In conclusion, the Street Art initiative represents an important means of making the public aware of people’s experience with their disease and the same time encourages patients to talk about it freely without being ashamed or afraid. The wall painting was used in several meeting with patients as a starting point for sharing experiences and discussion.Figure 1:: The Street Art created through the collaboration between the Artis SteReal and the Associazione Malattia Drepanocitica (Sickle Cell Disease Association), in Padova, Italy on the wall of the Pediatric Hematology Oncology and Bone Marrow Transplant Unit in March 2022.

The Introduction of Street Art's Etymology-Related Context and Discipline Against an Artwork in the Public Space

This paper provides an introduction and overview of the term ‘street art’. Related artwork in outdoor public areas such as ‘graffiti’, ‘murals’, and ‘public art’ are also debated to gain an understanding of the terms. Since the late 1960s, graffiti has developed in the United States and had a huge impact on the atmosphere of Western art and the development of art knowledge. The distinctions between different terminologies reflect the understanding of artists, scholars, academics, researchers, and the public. This review will be investigated using a conceptual of etymological perspective. This discussion also considers the publication and influence of artists such as John Fekner, David Wojnarowicz, Richard Hembleton, and Keith Haring at the beginning of the existence of artistic genres. This is necessary because the term "street art" is frequently used interchangeably in a few publications and discussions. Based on this review, three additional recommendations are made for the following researcher to do a series of studies.

On the Preservation of Illegal Street Art

Abstract Protecting street art faces significant hurdles. To overcome them, Salib, P.N. (2015. The law of Banksy: Who owns street art? The University of Chicago Law Review, pp. 2293–2328) proposes to unbundle the various rights that art ownership usually implies. Specifically, he proposes to treat the finder of a street art piece as a minority shareholder in this piece, granting him some percentage of its value. We provide an economic analysis of this proposal by refining a simple discovery process model involving street art finders and the owners of the premises where street art is found. We consider both the optimal number of researchers and the share of the street art value that should accrue to a finder. We also pay attention to the co-determination of the numbers of seekers and street artists. We find that a change in the share of the value of discovered street art has an ambiguous effect on the numbers of seekers and street artists. Moreover, relying on this share alone cannot guarantee that the equilibrium values of the numbers of seekers and street artists are equal to their socially optimal values.

Myślenie wizualne w UX na przykładzie sztuki ulicznej

With the development of research on the functioning of cognitive processes and communication, it is possible to search for further relationships between these fields. The article “Visual thinking in UX on the example of street art” is empirical in character. It presents visual thinking as a tool for designing the experience of a user of specific information. The indicated notions were applied to paintings on the walls, which are an element of street art. The purpose is to learn the way of thinking of users of their information and check how they decode the message designed by the sender. The basis for the article are the materials collected from Polish and foreign sources and the results of the eye tracking study carried out in June 2022 at the Laboratory of Cognition and Communication, which is part of the Interactive Centre for Communication and Social Studies of the University of Szczecin.

Banksy’s Street Art

Internationalization of doctoral study means more doctoral writers working across language and cultural borderlands. How can their access to a self-reliant understanding of English language be enabled? How can they acquire the confidence to find their textual voice? How can academics supporting these writers help them to adapt to western cultures of thinking, learning, and communicating? Behind this article sits an extensive investigation into how to support international doctoral candidates to make such crossings pleasurably: eight doctoral candidates from across disciplines at the University of Auckland, Aotearoa New Zealand, collectively close-read literary items, and Banksy’s street art. The purpose was to deepen understanding of argumentation, critical analysis, rhetoric that persuades, voice and creative positioning. Two interactive classroom sessions used Banksy’s street art to promote creative thinking about powerful communication. Here, we explain how Banksy’s graffiti gave a good foundation for the development of analytical skill, socio-political confidence, and cultural learning—and doctoral participants found the courage to be more creative thinkers and thesis writers.

Street art and public art in the Islamic Republic of Iran

The article is devoted to the review of the visual environment of modern Tehran and other cities of the Islamic Republic of Iran in the context of the diversity of forms of monumental, urban and street art. The definitions of the basic concepts and tactics of the existence of contemporary art in the city, such as street art and public art, are given. Their aesthetic, conceptual components and genealogical prerequisites are revealed with an attempt to further adapt to the Iranian art scene, which can be characterized as young, dynamic, actively developing under the influence of a large number of specific socio-cultural features and external factors. The result of the article was an attempt to classify the diversity of these forms of urban art in Iran through the prism of dynamic intersections with its history, religion, political concepts, as well as world changes in recent decades, modern challenges and phenomena of urban culture, which determined the need for Iran to modernize and adapt a number of Western models for improving the living standards of its citizens, although the country remains closed and isolated from the outside world, and its culture is brightly colored by the desire for self-identification and localization. The article does not claim to be a comprehensive review of Iranian street art, but seeks to identify the most characteristic forms of its representation based on a business trip to Iran by one of the authors of the article.

Protecting Street Art Rights Using an NFT-Based System

ABSTRACT Street art has flourished around the world, gaining international recognition and commercial success. Consequently, controversies over their misuse have escalated, and artists have begun to pursue legal protection of their intellectual property (IP) rights. But asserting these rights is still quite difficult, creating a state of uncertainty and risk to both artists and interested parties. In this article, we introduce Street-Art-NFT-System (SA-NFT), a dynamic street art ledger that enables artists to assert their IP rights and communicate with other interested parties, while maintaining their anonymity. Additionally, SA-NFT can create a new documentation method that will open new avenues for studying a city's ever-changing urban facades.

Street art, heritage and affective atmospheres

During the last decade, street art has received increased attention within heritage studies. However, current heritage research has not sufficiently explored street art’s crucial relationships with everyday life and change, as well as its performative, sensuous and atmospheric components. In this paper, I apply the notion of affective atmosphere within more-than-representational theory, heritage and urban studies, to conceptualise street art as a sensuous, ephemeral, political and embodied heritage experience of everyday life. My investigation of street art and affective atmospheres is further based on my improvised everyday practices of sensing, feeling, observing, walking and photographing in the streets of Oslo. Engaging with theory and praxis, I explore the compositional and multi-sensual aspects of street art and affective urban atmospheres, including sound, colour, movement, social hybridity and power. My analysis highlights that the experience of street art heritage involves more than simply embodied encounters with artworks, as it also integrates urban atmospheres and smooth and striated worlds. The research thus contributes practical and theoretical knowledge of street art, heritage and affective atmospheres within street art and urban and heritage studies.

Effects of Multifaceted Street Art on Price Premium of Pre War Commercial Buildings: The Case of Georgetown UNESCO World Heritage Site

Street art is promoted in most countries to intensify the cultural elements of the cityscape. Although street art provides cultural and social values, its impact on the prices of prewar historic property is still unknown. Therefore, an empirical study that examines the relationship between prewar shophouse prices and street art is needed to improve real estate professionals’ understanding of the historic preservation market. Using pre- and post-models for the years 2009 to 2019, this study systematically determined the actual location of 119 street art objects (in the form of sculptures and murals) and the 852 prewar shophouses sold in George Town, Penang. The price change of prewar shophouses correlates with the number of street art objects within 100 m, 500 m, and 1000 m of the properties. Due to the heterogeneous characteristics of the properties, six primary hedonic models were developed to extract the price premium of street art. This study has shown the impact of street art on a prewar commercial building, where an additional unit of sculpture could increase its price by 8.32%, 1.62%, and 0.74%, based on radii of 100 m, 500 m, and 1000 m, respectively, in the post-model (after 2012–2019). However, a mural painting has no significant effect on the price change of prewar shophouses. In addition, the position of street art (representing visibility) in the model was tested. The result shows that, unlike sculptures that were located at the back of prewar houses, such street art effects contributed positively to the price premium when they were located at the front of the buildings, with each additional unit of sculpture increasing the price premium of prewar houses by 1.13%. Sculptures as street art thus created a positive externality for the city, particularly with respect to the price premium for prewar shophouses.

İstanbul Street Rhythms: A Field Guide to Short Expressive Ensembles

This article presents the field guide as an alternate format to the anthology in documenting short literary expressions. Anthologies often isolate, collect, and remove literary forms from their habitats by representing them in a book, altering the context by which short literary expressions can be interpreted. After the Gezi Park protests in İstanbul in 2013, several print and electronic anthologies documented public expressions, yet these books offer no or only vague mention of location. Through Henri Lefebvre’s Rhythmanalysis: Space Time and Everyday Life, I emphasize the rhythms of the street that are interrupted by public expressions. After a review of Lefebvre’s work on rhythms, I offer digital annotation techniques to map the material and medium of public inscriptions of one neighborhood of Kadıköy, İstanbul called Rasimpaşa, a district historically called “Yeldeğirmeni” or “The Windmill.” The focus on public graffiti, street art, posters, signs, stickers, or other verbal traces in public space allows for an expansion of the concept of “short literature” to include their lived habitats as rhythmic ensembles.

Breathing Room: Working Principles of Independent Art Spaces in African Cities

Breathing Room: Working Principles of Independent Art Spaces in African Cities

Re:]Entanglements: Colonial Collections in Decolonial Times curated by Paul Basu

Re:]Entanglements: Colonial Collections in Decolonial Times curated by Paul Basu

Social cohesion and artistic resources, Two Clinical cases.

IntroductionTwo emblematic clinical cases will be addressed in this poster. The purpose of the poster is to relate the aspect of how the artistic resources of psychiatric patients are useful to improve social cohesion.ObjectivesCorrelate psychotherapy work on superior defenses to social cohesion and clinical improvement.MethodsPsychopharmacotherapy. Psychoanalytically oriented psychotherapy. Psychiatric rehabilitation.Social jutice idex (Schraad-Tishler, 2015) and BES (Istat 2015) as sources of social cohesion indicators.ResultsIn the first case we have a man with ciclotimic personality disorder and substace abuse with psicotic episodes. Previously, the patient underwent repeated hospitalizations . Once the therapeutic relationship was hooked up and introduced in addition to pharmacological treatment, a psychotherapy also aimed at activating personal resources, the patient began to take an interest in the activity of a street artist. Over time and with the improvement of this activity, aspects of social cohesion have been highlighted in the social context. Social relations both linked to work and affective activity, as well as friends; improvement of the economic situation both through the economic return of this activity and through associative loans linked to this activity; an improvement of social inclusion and non-discrimination in the cities where the artistic activities were carried out; the use of fixed environmental spaces where the activity can be carried out. These aspects have favored a recovery that has reached the complete economic independence of the patient, the establishment of a family unit of their own, the progressive remission of the toxicophilic relapses and therefore the psychotic imbalances they induce.In a second case, we have a 30-year-old patient with a severe depressive disorder, with narcissistic, paranoid and obsessive personality traits, graduated from the Academy of Fine Arts and with an artistic production both before and after the illness. In addition pharmacological therapy, the patient began psychotherapeutic interventions on the enhancement of superior defenses such as sublimation through artistic activity. So she began to rededicate herself to the artistic activity , she however progressively improved the recovery aspects for a long period of time up to living, working and emotional autonomy. During this path the aspects of social cohesion were also decisive, such an economic autonomy linked to the work activity of an employee in an art gallery, a progressive social inclusion, the conquest of spaces where you can exhibit your works and an increase in trust both towards the family and towards health workers and towards friends and work relationships.Image:Image 2:Image 3:ConclusionsIn this Clinical cases and others not reported exist correlation between psychotherapy work on superior defenses to social cohesion and clinical improvement.Disclosure of InterestNone Declared

러시아 침략에 대한 우크라이나 문화의 저항

This study explains that the Russia-Ukraine War is a culture war. The essay “On the historical relationship between Russians and Ukrainians” published by Putin on July 12, 2021 reflects Putin’s historical and cultural views, denying Ukraine’s independent historical, national, and cultural identity. Based on Putin's view of history, this study will discuss how the Russian military is carrying out 'erasing Ukrainian culture' and how Ukrainians are preserving their cultural heritage and identity. As a case study, I also introduce how the public and artists in various cultural spheres of Ukraine are culturally resisting the Russian invasion. Analyzing the cases of Ukrainian resistance in folk culture, street art, music and song, this study explains the impact of the Russian invasion on Ukrainian culture.

Street Art in Aveiro: City Walls as Dialogic Spaces of Collective Memories and Identity

In urban centers around the world, street art has become an unavoidable element of the landscape. Located in west-central Portugal, Aveiro is no exception to this trend, and the art form has been used to enhance the cultural vibrancy of a place where tourism is one of the most important economic pillars. Seeking to look beyond the value of street art as a tourism product, by combining observations and photos from field research with bibliographic and documental data, as well as residents’ responses on social media, this paper adopts an autoethnographic approach to offer an exploratory, (self-)reflexive perspective on how street art has evolved into a phenomenon that has contributed to locals’ cultural identity (re)construction. Drawing on Jan Assmann’s cultural memory theory, it is argued that street art can be understood as a form of communicative memory, an ephemeral vehicle into our history, knowledge, traditions and practices, one that, by retelling the story of who we are, stimulates awareness of selfhood and a feeling of belonging to a place and a community.

Urban Values in the Digital Space. The Street Art Roots of NFTs as a Problem

This text is an attempt to describe a growing interest in transferring street art into digital art in the form of NFTs. By examining several urban values associated with graffiti and street art, it is possible to see how these phenomena affect new technologies. First, however, it is important to consider some street art NFTs and distinguish between their different types. We may identify three ways of presenting street art as NFTs: transferring the character to a different medium; assembling a collection of street art NFTs in a museum-like environment with each piece having its own characteristics; writing street artistry into the wider metaverse. I describe five urban values of NFTs: preservation, accessibility, illegality, money, and uniqueness. In conclusion, it is clear that NFTs change how viewers may perceive street art. NFTs are supposed to be eternal rather than ephemeral, and they lose street art’s association with spontaneity and illegality as well as its critique of commercialism. Street art as NFT is just another form of profit-making and one of its new values is money. It is possible to notice artistic values as well. NFTs are marked by diversity, and have their own rules (such as the importance of movement or looping), which are impossible to implement in traditional street art.

Street art as a transforming agent of public space in Arab World. Case study of two artistic groups in Tunisia

The public space in the Arab World has historically been controlled and seized by political authorities. This appropriation has created a deep rift between citizens and public places. Nevertheless, since the beginning of the Arab revolutions, new youth art forms have emerged liberating the arts from traditional formalism and these have been transferred to open spaces making them accessible to the people. This research seeks to explore the youth street art that emerged during the Tunisian revolution, not only as an innovative artistic trend, but also as a social movement that claims a new kind of citizenship. It aims to analyze the philosophical and aesthetic purposes of street art and its role in the liberation of public space. The methodology is based on qualitative interviews and participant observation with members of two street art groups Ahl Al Kahf and Fanni Raghman Anni that emerged during the Tunisian revolution of 2011. The results reveal that the youth revolutionary artistic phenomenon represents a new creative project and constitutes a. intellectual and artistic rupture with the prevailing aesthetic practices.