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Although there have recently been visionary curators such as Jeffrey Deitch and Cedar Lewisohn who come from a passionate and compassionate understanding of the movement, and who have successfully begun to champion and canonize the art form, there is still an overall lack of critical analysis, historical understanding, and theoretical thought on the matter.

Utilizing and mutating current vocabulary and archeological dissection of intellectual objects, we hope to translate the why and how this movement was born, subsequently to become a globally dominant art form. This new historical thread called Urban Art can be traced to a new generation of artists, critical thinkers and theorists that speak to a younger larger audience than any biennial or museum can. These institutions are currently floundering in their attempts to recognize and exhibit any kind of art in the new millennium that attracts and engages broad young audiences.

They continue to rely on old definitions, catering mainly to an academic and social elite that is still utilizing antiquated formal categories and standards to define what is relevant and important Art, and then force it on the public with the authority of a police state. As a result, they churn out massive retrospectives of Modern and Post-modern artists from the past hundred or more years which are mystifying and uninteresting to most.

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We speak to a new generation born into a new world with a resultant new model for aesthetics, art making, distribution, and consumption. This major minority is one of many to come in the future, always mutating, who will continue to gestate outside of academia and the current art world system, continuing to create progressive hybridized art forms that are truly relevant to the current and following generations. It has brought art back into our communities and lives.

Pretty irrelevant really. RJ Rushmore is a something living in Philadelphia. He became a fan of street art alongside his father when they began collecting art and searching out street art together in early RJ has written two books, curated some exhibitions and is currently communications manager at the City of Philadelphia Mural Arts Program, editor-in-chief of Vandalog, and co-curator and artist liaison for The L.

Project NYC. Activist street art creates an undeniable visceral response, and it gives a voice to the voiceless. But what if you are not voiceless? What if you have access to the halls of power? Surely you are not precluded from also improving society, perhaps in ways that align with the same issues and values that activist street artists are interested in. Take where I work: The City of Philadelphia Mural Arts Program has, for 30 years, shown that artists can infiltrate government and promote positive change through art while working with and from inside the system.

Mural Arts is a part of the city government in Philadelphia, and the program has used an insider approach to fulfill ideas that traditional activists can only dream of. Other murals are louder than a bomb: providing jobs for artists, empowering local communities, and skills training for at risk populations. Street art is the same. Artists like SpY draw our attention to the dangers of a mass surveillance culture. Other street artists use walls solely to promote their vacuous gallery art. Muralism is not the enemy of change.

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Apathy is. Steven P. Mural art is almost unanimously censored art and cannot be righty considered strictly as Street Art. Censorship is anathema to the entire activist spirit of Street Art that drew us to it to begin with. No permission is sought for commission, and no critique is necessarily desired either. Rabble rousers and challengers of the status quo, the choice to avert the established Art World path of university-gallery-fairs-museums-collectors and the multiple layers of gate-keeping is itself a sort of middle finger activism toward the self-appointed doyennes of art, design and basically any aesthetic endeavor.

The only peer-review journal they are interested in are the thick dripping markers nearby or overtop their work — and in the various Internet hubs they participate in. Street Art, a corollary to and evolution of the graffiti practice never necessarily had in mind that it was answerable to any person or institution but rather it has been primarily a direct communication to the everyday passerby. With the growing fascination, acceptance, and even romance with Street Art on illegal walls, real estate developers and moribund city centers are courting the very artists who once surreptitiously hit the walls, with some restrictions naturally.

Only ten years earlier many of these same entities were alerting authorities to the vandalism occurring on walls in their neighborhoods. Now artists are being tracked again — but with a different request: please hit up my wall with beautification in mind and with something vaguely edgy. Also, no politics. And could you keep it family-friendly? If you can include a Ninja Turtle my son would be so totally stoked. Not exactly the public art murals of yesteryear that spoke to social ills and local pride, the new crop of murals is pleasant and sometimes aesthetically astounding, but the genteel censorship brings the final result closer to public art than Street Art.

Conversely, commercial mural walls are openly anti-activist and non-apologetic vehicles for the delivery of a sponsored message. For purists, if there are any, this is the essence of the Street Art creative approach now perverted by the integration of branded content, radically altering its essential spirit. In a time when TV is giving wars their own names and themed motion-graphics, Street Art as a product delivery vehicle is probably expected.

From Elvis to punk to hipsters we have learned over decades that organically grown youth movements are first resisted then fully subsumed, synthesized, and re-employed. Thankfully, not everyone in the next gen of Millennial activists got the text.


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These digital natives whose initial cell division took place in an amniotic fluid floating in logos and slogans are hypersensitive to the commercial or political re-purposing of their anger and have taken the means of digital meme production into their hands and swiping fingers. With virtual location unmoored from the physical location, freelance and organized Street Artists create works on walls and fences and bus stops across cities specifically to be shot and re-Grammed en route to addressing topical events and issues. Unsanctioned takeovers of public and private space are quickly recorded and dispersed through the ether before being buffed — or even discovered.

No clouding or spinning of the message has a chance to take place before the campaign begins, only in reaction to it. With these and other means activists on the street are reaching their target audiences like never before. Whether it is the ever flaring Israeli-Palestinian disaster, the blossoming Arab Spring, the BP oil spill in the Gulf of Mexico, the verbal harassment of women in a Brooklyn neighborhood, factory-raised meat and GMOs at your local grocery, or simply the rapidly growing canyon between rich and poor worldwide, Street Art activism is way outside the censorious instincts of most mural programs and urban art festivals.

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Ultimately the rise in large scale murals and mural programs and festivals are excellent for world-wide public art production but may have a silencing effect on the more traditionally rebellious Street Artist, with the resulting work a de-fanged and pleasantly neutered version of its original conception. You can securely predict that the discontented youth who prefer a more activist approach will be out there as well. The crowd listens and, it seems, agrees. Petrov writes something down in his notebook.

A man of medium height emerges from the crowd and asks Petrov what he wrote down in his notebook. Petrov replies that it concerns himself alone. The man of medium height presses him. Words are exchanged and discord begins.

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The crowd takes the side of the man of medium height, and Petrov, saving his life, drives his horse on and disappears around the bend. The crowd panics and, having no other victim, grabs the man of medium height and tears off his head.

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The torn-off head rolls down the street and gets stuck in the hatch of a sewer drain. The crowd, having satisfied its passions, disperses. While most contemporary metropolises have both public gardens and skyscrapers, few could say to have them in perfect balance or proper distribution. Inequities aside, for surely some neighborhoods are better served than others by the ratio of development to public space or the relative beauty invested in either, the very notion of balance is itself problematic.

That is, while collectively the body politic demands a need for both, rarely is either created with the other in mind. Born of very different agendas and serving contrary purposes, the garden and the skyscraper are rather more oppositional forces than complimentary terms. Our talk, which is ultimately about how individuals, groups and in particular artists, can re-imagine these sites and situations of the city, queries this topography for points of access and weakness.

We will begin by considering the visual history of the garden and the skyscraper as cultural metaphors- called different things over time, like parks or towers- that have helped define and design our concept of civilization for centuries now. But we regard them only so far as a kind of reconnaissance, and stay there only long enough to figure out a way to bulldoze them over.

We must recognize the metonymic power of garden and skyscraper alike, how each is a kind of synecdoche standing in for so much more, and take their various significations- of innocence, life, purity, power, ill-fate, aspiration, of escape and return, city and country, utopia and dystopia, ascension and the fall- as embodiments of a certain authority or stasis which is there for art and society to accept or defy.

These are the nodes of conjunction where we meet, places where we may take our collective stand and try to topple existing orders, diversions for the eye whose deeper meaning is just the stuff we could lose our heads over. Xavier Ballaz, social psychologist and educator, has been developing projects related to urban art for over a decade. From Difusor, he created, along with Edu Crespo, the first online platform to deliver authorisations to paint legally in authorised walls, openwalls.

Barcelona had a bipolar relationship with a phenomena that happens in the public space, regardless sometimes is written over private property, commonly known as graffiti. Work from this art school invaded the city — mainly Gracia and Chino barrios — with comic, advertising, punk and ska iconography. Other cities in Spain had graffiti, however work produced by the sea was much stronger: an intense and vibrant street life, the permissiveness of the authorities, the unique creativity of a mixture of artists that created what some called the barcelona style, some technical improvements — and cheap prices — in a spraypaint introduced in by a newborn local company, turned the city into a world mecca for graffiti and street art.

Since the City Council dramatically fined many activities occurring in the public space: skatebaording, drinking alcohol outside licensed establishments… and graffiti. Within a couple of horrifying months in the summer of — only half a year before the bylaw was approved —, the whole city was painted grey. Or beige. Although the ordinance reserves the right to paint legally with municipal permission, the truth is that no one in City Hall seemed to know how and when this permission could be given. This tour de force initiated by Mayor Clos has implications that surpass the pure desire to eliminate anti-social behavior: systematic buffing of graffiti, banning of leaflet distribution, even the prohibition of painting a chalk hopscotch on a playground, means the council went far beyond deciding which city wants to show to the tourist one of the main economic basis of Barcelona, that significantly changed from backpacker to cruise passengers : this new public space policy kidnaps a space that had been public to the date.

With the new ordinance, the public space is privatized and becomes a territory governed by a de facto state of emergency: if you cannot paint, nor even distribute leaflets on your own, freedom of expression is under a massive threat. It is under the full implementation of the Ordinance when initiatives begin to appear trying to organize something around street art.

Festivals like Urban Funke or Hipnotik include graffiti in their line-up, but always framed in time and space, far from what happens in public space and far from anything really interesting. The challenge was to provide means for freedom of expression. In there is the first organized response that points in this direction. Difusor Stencil Meeting brings to Barcelona — well, more precisely, they came on their own to a pretty much D.

From the work of that festival was raised the Galeria Oberta Open Gallery , a pioneer project in the management of public spaces for autonomous graphic interventions that, after a change of location, was named Openwalls. Then, followed other initiatives that gradually were opening up debate on the lace between urban art and the city. After the last municipal election, it looks like a breathe of fresh air entered the Council and there are some signs of openness which to be honest, already started slightly before.

Nevertheless, despite this openness can bring a bunch of new oportunities, is still highly regulated under different forms, both explicit or implicit. What happens when informal creativity is allowed only under strict constrictions? Which are these new forms of censorship? It is a relatively simpler task however to track the riotous radicalisms of the Sixties going forward than to understand where they came from.

Rebellions manifest as the flashpoints along the fault-lines of our cultural dis-ease, each upheaval a seizure like a spasm meant to address some pathological discomfort in the body politic. Here we will look at the art of the Situationist International during the height of the May uprising, in particular the graffiti and the posters produced by the Atelier Populaire, that is quite literally the street art of that time. As we come to terms with the profound impact that Situationism, the youth revolt of the Sixties and punk have had on the kind of art being produced in the streets today, we need to also recognize what has been often lost in the translation and the hypocrisies that such a slippage of content and intent produce.

We may locate this most succinctly at the moment in Dismaland, the latest subversive spectacle from Banksy now going on in England. Everything that was directly lived has receded into a representation. This collective folly then by which we allow our discontent to be distilled into art and as such subject to our aesthetic fetish is itself completely contradictory to the revolutionary purposes from which we so liberally borrow our ideas now.