Street art by C215 on a postbox in the 5th arrondissemt of Paris honoring Frch Resistance hero Pierre Brossolette in a partnership with the Ctre des monumts nationaux around the Panthéon
Street art is visual art created in public locations for public visibility. It has be associated with the terms "indepdt art, " "post-graffiti", "neo-graffiti" and guerrilla art.
Street art has evolved from the early forms of defiant graffiti into a more commercial form of art, as one of the main differces now lies with the messaging. Street art is oft meant to provoke thought rather than rejection among the geral audice through making its purpose more evidt than that of graffiti. The issue of permission has also come at the heart of street art, as graffiti is usually done illegally, whereas street art can nowadays be the product of an agreemt or ev sometimes a commission. However, it remains differt from traditional art exposed in public spaces by its explicit use of said space in the conception phase.
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Street art is a form of artwork that is displayed in public on surrounding buildings, on streets, trains and other publicly viewed surfaces. Many instances come in the form of guerrilla art, which is intded to make a personal statemt about the society that the artist lives within. The work has moved from the beginnings of graffiti and vandalism to new modes where artists work to bring messages, or just beauty, to an audice.
Whereas other artists use urban space as an opportunity to display personal artwork. Artists may also appreciate the challges and risks that are associated with installing illicit artwork in public places. A common motive is that creating art in a format that utilizes public space allows artists who may otherwise feel disfranchised to reach a much broader audice than other styles or galleries would allow.
Whereas traditional graffiti artists have primarily used spray paint to produce their work, "street art" can compass other media, such as LED art, mosaic tiling, stcil art, sticker art, reverse graffiti, "Lock On" sculptures, wheatpasting, woodblocking, yarn bombing and rock balancing.
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New media forms such as video projections onto large city buildings are an increasingly popular tool for street artists—and the availability of cheap hardware and software allows such artwork to become competitive with corporate advertisemts. Artists are thus able to create art from their personal computers for free, which competes with companies' profits.
Slogans of protest and political or social commtary graffiti on walls are the precursor to modern graffiti and street art, and continue as one aspect of the gre. Street art in the form of text or simple iconic graphics of corporate icons can become well-known yet igmatic symbols of an area or an era.
Some credit the Kilroy Was Here graffiti of the World War II era as one such early example; a simple line-drawing of a long-nosed man peering from behind a ledge. Author Charles Panati indirectly touched upon the geral appeal of street art in his description of the "Kilroy" graffiti as "outrageous not for what it said, but where it turned up".
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Much of what can now be defined as modern street art has well-documted origins dating from New York City's graffiti boom, with its infancy in the 1960s, maturation in the 1970s, and peaking with the spray-painted full-car subway train murals of the 1980s ctered in the Bronx.
As the 1980s progressed, a shift occurred from text-based works of early in the decade to visually conceptual street art such as Hambleton's shadow figures.
This period coincides with Keith Haring's subway advertisemt subversions and Jean-Michel Basquiat's SAMO tags. What is now recognized as "street art" had yet to become a realistic career consideration, and offshoots such as stcil graffiti were in their infancy. Wheatpasted poster art used to promote bands and the clubs where they performed evolved into actual artwork or copy-art and became a common sight during the 1980s in cities worldwide.
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Punk rock music's subversive ideologies were also instrumtal to street art's evolution as an art form during the 1980s. Some of the anti-museum mtality can be attributed to the ideology of Marinetti who in 1909 wrote the "Manifesto of Futurism" with a quote that reads, "we will destroy all the museums."
The northwest wall of the intersection at Houston Street and the Bowery in New York City has be a target of artists since the 1970s. The site, now sometimes referred to as the Bowery Mural, originated as a derelict wall that graffiti artists used freely. Keith Haring once commandeered the wall for his use in 1982. After Haring, a stream of well-known street artists followed, until the wall had gradually tak on prestigious status. By 2008, the wall became privately managed and made available to artists by commission or invitation only.
A series of murals by Ré Moncada began appearing on the streets of SoHo in the late 1970s emblazoned with the words I AM THE BEST ARTIST. Ré has described the murals as a thumb in the nose to the art community he felt he had helped pioneer but by which he later felt ignored by.
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They were a topic of conversation and debate at the time; related legal conflicts raised discussion about intellectual property, artist's rights and the First Amdmt.
The ubiquitous murals also became a popular backdrop to photographs tak by tourists and art studts, as well as for advertising layouts and Hollywood films.
Franco the Great, also known as the "Picasso of Harlem" is another world famous street artist internationally known also for his New Art form. There were riots in the streets wh Martin Luther King Jr. was assassinated in 1968. Harlem business owners retaliated by installing drab-looking metal gates on their storefronts. Franco decided to turn a negative into a positive by developing a new art form on the steel gates in 1978. He has painted over 200 gates from the west to the east side of 125th street on Sundays since th, wh stores are closed." 125th Street in Harlem is unofficially known as "Franco's Blvd" because of his magnifict paintings on the metal business gates.
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Some street artists have earned international atttion for their work and have made a full transition from street art into the mainstream art world — some while continuing to produce art on the streets. Keith Haring was among the earliest wave of street artists in the 1980s to do so. Traditional graffiti and street art motifs have also increasingly be incorporated into mainstream advertising, with many instances of artists contracted to work as graphic designers for corporations. Graffiti artist Haze has provided font and graphic designs for music acts such as the Beastie Boys and Public emy. Shepard Fairey's street posters of th-presidtial candidate Barack Obama were reworked by a special commission for use in the presidtial campaign. A version of the artwork also appeared on the cover of Time magazine. It is also not uncommon for street artists to start their own merchandising lines.
Street art has received artistic recognition with the high-profile status of Banksy and other artists. This has led street art to become one of the 'sights to see' in many European cities. Some artists now provide tours of local street art and can share their knowledge, explaining the ideas behind many works, the reasons for tagging, and the messages portrayed in a lot of graffiti work. Berlin, London, Paris, Hamburg and other cities all have popular street art tours running all year round. In London alone there are supposedly t differt graffiti tours available for tourists.
Many of these guides are painters, fine-art graduates and other creative professionals that have found the medium of street art as a way to exhibit their work. With this commercial angle, they can let people into the world of street art and give them more of an understanding of where it comes from. It has be argued that this growing popularity of street art has made it a factor in gtrification.
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Street art can have legal problems. The parties involved can include the artist, the city or municipal governmt, the intded recipit and the owner of the structure or the medium where the work was displayed. One example is a case in 2014 in Bristol, gland, which illustrates the legal, moral and ethical questions that can occur. The Mobile Lovers by Banksy was painted on plywood on a public doorway, th cut out by a citiz who in turn was going to sell the piece to garner funds for a boys' club. The city governmt in turn confiscated the artwork and placed it in a museum. Banksy, hearing of the conundrum, th bequeathed it to the original citiz, thinking his inttions were guine. In this case, as in others, the controversy of ownership and public property, as well as the issues of trespassing and vandalism, are issues to be resolved legally.
Under United States law, works of street art should be able to find copyright protection as long as they are legally installed and can fulfil two additional conditions; originality in the work, and that it is fixed in a
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