sin
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February 2013
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street will eat itself, by sin on Oct 13, 2014 16:12:21 GMT 1, Academics and institutions have defined what art is as time passes. more than once a curatorial director has said to me "urban art belongs in the streets, not in my institution". worse still, the highly digestible nature of work by artists like Mr. Brainwash, Alec Monopoly and other of similar ilk inspire shouts of praise from your average drunk socialite. When art becomes fashion, what happens when what was once revolutionary goes out of style?
Over the last year, this thought has plagued me more and more. Advisers whom i respect point out that much of the work is simply "cool" without offering much if anything that is worthy of academic study. There is no revolution here, like there was with abstract expressionism. Little quest for greater meaning. In a world that has developed it's critiques to facebook likes, will street art eat itself because "cool" isn't enough to warrant a place on the canon?
Academics and institutions have defined what art is as time passes. more than once a curatorial director has said to me "urban art belongs in the streets, not in my institution". worse still, the highly digestible nature of work by artists like Mr. Brainwash, Alec Monopoly and other of similar ilk inspire shouts of praise from your average drunk socialite. When art becomes fashion, what happens when what was once revolutionary goes out of style?
Over the last year, this thought has plagued me more and more. Advisers whom i respect point out that much of the work is simply "cool" without offering much if anything that is worthy of academic study. There is no revolution here, like there was with abstract expressionism. Little quest for greater meaning. In a world that has developed it's critiques to facebook likes, will street art eat itself because "cool" isn't enough to warrant a place on the canon?
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Deleted
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January 1970
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street will eat itself, by Deleted on Oct 13, 2014 16:35:30 GMT 1, curatorial directors and academics most likely disregarded abstract expressionism in the early days as well, street art/urban art is now cemented in art history whether academics approve or not, how many of the current artists will be remembered in significant terms in art history is to be seen, who knows what talents will emerge....
curatorial directors and academics most likely disregarded abstract expressionism in the early days as well, street art/urban art is now cemented in art history whether academics approve or not, how many of the current artists will be remembered in significant terms in art history is to be seen, who knows what talents will emerge....
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lee3
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street will eat itself, by lee3 on Oct 13, 2014 16:38:08 GMT 1, Just like every pursuit (including cubism and abstract expressionism), there are the great ones and the not so great ones. We never penalized Picasso because he inspired so many copycats nor did we hold it against Warhol that we are bombarded with soup cans and repetitive imagery at every turn. Of course not, because those are reflective of the influential power those artists possessed.
>>>more than once a curatorial director has said to me "urban art belongs in the streets, not in my institution<<<
Not that I give much credence to the opinion of any one "curatorial director" as opposed to the opinion of the public at large, but I guarantee you every one of those same directors wish they had a Basquiat.
Just like every pursuit (including cubism and abstract expressionism), there are the great ones and the not so great ones. We never penalized Picasso because he inspired so many copycats nor did we hold it against Warhol that we are bombarded with soup cans and repetitive imagery at every turn. Of course not, because those are reflective of the influential power those artists possessed.
>>>more than once a curatorial director has said to me "urban art belongs in the streets, not in my institution<<<
Not that I give much credence to the opinion of any one "curatorial director" as opposed to the opinion of the public at large, but I guarantee you every one of those same directors wish they had a Basquiat.
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street will eat itself, by Peter Bengtsen on Oct 13, 2014 17:33:57 GMT 1, It is easy to deride art historians and other academics, and speculate on how they are overlooking street art as an important art movement or culture.
A significant problem with these speculations is that they are more based in prejudice against academics than in what is actually going on within academia.
The fact is that there are quite a few published books and a plethora of academic articles available that discuss street art. They are written by academics from many different fields (e.g. art history, sociology, law, critical legal theory, geography), and approach street art from numerous angles.
In addition to what has already been published, I know a number of younger scholars who are working on research within the field of street art, which hopefully means that many more publications are to come. It may take a while, however, as getting an article published in an academic journal often takes from ยฝ - 2 years from the date of submission to publication.
A quick search on Academia.edu shows 361 documents relating to street art. If interested, have a look. Not all of these papers will be relevant, but you might be surprised at what you can find there.
It is easy to deride art historians and other academics, and speculate on how they are overlooking street art as an important art movement or culture. A significant problem with these speculations is that they are more based in prejudice against academics than in what is actually going on within academia. The fact is that there are quite a few published books and a plethora of academic articles available that discuss street art. They are written by academics from many different fields (e.g. art history, sociology, law, critical legal theory, geography), and approach street art from numerous angles. In addition to what has already been published, I know a number of younger scholars who are working on research within the field of street art, which hopefully means that many more publications are to come. It may take a while, however, as getting an article published in an academic journal often takes from ยฝ - 2 years from the date of submission to publication. A quick search on Academia.edu shows 361 documents relating to street art. If interested, have a look. Not all of these papers will be relevant, but you might be surprised at what you can find there. |
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Deleted
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January 1970
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street will eat itself, by Deleted on Oct 13, 2014 17:45:54 GMT 1, Streets are so cold nowadays, the art is best viewed from an auction catalogue in front of a warm fire.
Streets are so cold nowadays, the art is best viewed from an auction catalogue in front of a warm fire.
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sin
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February 2013
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street will eat itself, by sin on Oct 13, 2014 18:08:14 GMT 1, Abstract Expressionism as a movement didn't have the same commercial pressure.
Soft drink companies, to the best of my knowledge, weren't attempting to market their products by connecting them to Rothko. While there was absolutely some of that brand / marketing integration during the pop era, it was decidedly less pervasive.
Seeing groups attempt to create their own institutions, and academics writing papers and books on the topic does offer hope. However, it seems possible that the commercial adoption, graphic design nature and digestibility of some of the work applies pressure. As one person put it, "much of it is just pretty pictures and that isnt going anywhere" When the art becomes fashion, and fashion evolves so quickly, what happens to the art. It's easy to say that it wont happen because of one thing or another, but I presume people that were active in movements that are less remembered if not forgotten were hoping that they were making an indelible mark of some sort.
Abstract Expressionism as a movement didn't have the same commercial pressure.
Soft drink companies, to the best of my knowledge, weren't attempting to market their products by connecting them to Rothko. While there was absolutely some of that brand / marketing integration during the pop era, it was decidedly less pervasive.
Seeing groups attempt to create their own institutions, and academics writing papers and books on the topic does offer hope. However, it seems possible that the commercial adoption, graphic design nature and digestibility of some of the work applies pressure. As one person put it, "much of it is just pretty pictures and that isnt going anywhere" When the art becomes fashion, and fashion evolves so quickly, what happens to the art. It's easy to say that it wont happen because of one thing or another, but I presume people that were active in movements that are less remembered if not forgotten were hoping that they were making an indelible mark of some sort.
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chaserawr
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February 2011
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street will eat itself, by chaserawr on Oct 13, 2014 18:18:00 GMT 1, While I think you make a good point, I think the manner in which art history and art movements work is not longer comparable now due to the internet, and globalization. The great thing about street art, urban art, whatever this is right now is that the art institutions, curators, directors, galleries have no control over what is or will be accepted as art history. I honestly believe over the last decade street art has been around they tried to contain it, control it, manipulate it without success. Luckily people like Banksy, Barry Mcgee, Shep Fairey, ROA, BLU have taken that control away by not conforming to the art instutitions rhetoric. From renegarde politic vilgilante to total sell out clothing brand extrodinary you have to respect that none of this will conform to a movement like Pop Art or Abstract Expressionalism.
Its too far gone now, I think the machine has moved on to "New Contemporary Art" Auerbach, Sam Falls, Murillo, Ethan Cook, which is much more defined and MUCH more typical of art movements which inheritally makes it much easier to control.
While I think you make a good point, I think the manner in which art history and art movements work is not longer comparable now due to the internet, and globalization. The great thing about street art, urban art, whatever this is right now is that the art institutions, curators, directors, galleries have no control over what is or will be accepted as art history. I honestly believe over the last decade street art has been around they tried to contain it, control it, manipulate it without success. Luckily people like Banksy, Barry Mcgee, Shep Fairey, ROA, BLU have taken that control away by not conforming to the art instutitions rhetoric. From renegarde politic vilgilante to total sell out clothing brand extrodinary you have to respect that none of this will conform to a movement like Pop Art or Abstract Expressionalism.
Its too far gone now, I think the machine has moved on to "New Contemporary Art" Auerbach, Sam Falls, Murillo, Ethan Cook, which is much more defined and MUCH more typical of art movements which inheritally makes it much easier to control.
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sin
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February 2013
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street will eat itself, by sin on Oct 13, 2014 18:23:09 GMT 1, Let me be clear by saying that I think its entirely unlikely that the entire group of urban artists is forgotten. My concern is that the greater movement is marginalized to a paragraph, with mention of a few standouts, while the greater movement and it's value to art history is lost against the din of commercial use.
Let me be clear by saying that I think its entirely unlikely that the entire group of urban artists is forgotten. My concern is that the greater movement is marginalized to a paragraph, with mention of a few standouts, while the greater movement and it's value to art history is lost against the din of commercial use.
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chaserawr
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February 2011
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street will eat itself, by chaserawr on Oct 13, 2014 18:30:30 GMT 1, You can't see into the future, and that is what makes it so exciting.
You can't see into the future, and that is what makes it so exciting.
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mouser
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April 2011
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street will eat itself, by mouser on Oct 13, 2014 18:49:30 GMT 1, A thread very similar to this comes up every couple of years, the first ones were back about late 05/ early 06 as Banksy started to come to the fore and street / urban started to become trendy. The whole over commercialisation and implosion of the scene was foretold with absolute certainty... things would never be the same again as the punk ethos was swallowed by commercial interests.
Late 08.... Banksy is a household name, other artists such as faile, obey, adam neate, micallef, walker had achieved a higher level, big gallery shows, big price tags... this drew a lot of attention of a new breed of artists, the new "urban arsists" painting legal walls, one wall piece with a limited run of 50 prints on the back of it.... some better than others, but new interest / blood none the less.... big names said to have sold out, things too tame.. scene was going to die.
2011... the big boys continue to gain popularity, some of the smaller guys too, some starts fade into obscurity, others rise to take their place, new blood continues to flow into the scene. Most folk priced out of pieces by their favourite artists, most major releases are bun fights, big money being made in prints and promoting any sub standard crap as "urban / street" as it was still trendy... too commercial, the scene was ruined and dying...... US starting to get more interested in art as the new sneaker craze...
2014.... big boys getting bigger, silly cash floating about for what was classed as mediocre not so long ago... still a steady new stream of blood flowing in to keep things interesting, diversification... people widening their horizons and not pinholing themselves into a single genre... is everything in danger of dying out as its diluted away?.....
To be honest, it continues to evolve, wax and wane periodically but the simple punk ethos of... "give it a go" continues to draw those with a bit more between the ears to an artform that is beautifully expresive, can reach thousands of people without the restrictions of galleries, provides a voice and outlet for those who might not otherwise have one. Long live street.
A thread very similar to this comes up every couple of years, the first ones were back about late 05/ early 06 as Banksy started to come to the fore and street / urban started to become trendy. The whole over commercialisation and implosion of the scene was foretold with absolute certainty... things would never be the same again as the punk ethos was swallowed by commercial interests.
Late 08.... Banksy is a household name, other artists such as faile, obey, adam neate, micallef, walker had achieved a higher level, big gallery shows, big price tags... this drew a lot of attention of a new breed of artists, the new "urban arsists" painting legal walls, one wall piece with a limited run of 50 prints on the back of it.... some better than others, but new interest / blood none the less.... big names said to have sold out, things too tame.. scene was going to die.
2011... the big boys continue to gain popularity, some of the smaller guys too, some starts fade into obscurity, others rise to take their place, new blood continues to flow into the scene. Most folk priced out of pieces by their favourite artists, most major releases are bun fights, big money being made in prints and promoting any sub standard crap as "urban / street" as it was still trendy... too commercial, the scene was ruined and dying...... US starting to get more interested in art as the new sneaker craze...
2014.... big boys getting bigger, silly cash floating about for what was classed as mediocre not so long ago... still a steady new stream of blood flowing in to keep things interesting, diversification... people widening their horizons and not pinholing themselves into a single genre... is everything in danger of dying out as its diluted away?.....
To be honest, it continues to evolve, wax and wane periodically but the simple punk ethos of... "give it a go" continues to draw those with a bit more between the ears to an artform that is beautifully expresive, can reach thousands of people without the restrictions of galleries, provides a voice and outlet for those who might not otherwise have one. Long live street.
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mouser
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April 2011
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street will eat itself, by mouser on Oct 13, 2014 18:57:33 GMT 1, Let me be clear by saying that I think its entirely unlikely that the entire group of urban artists is forgotten. My concern is that the greater movement is marginalized to a paragraph, with mention of a few standouts, while the greater movement and it's value to art history is lost against the din of commercial use.
Same with any art scene / movement though? good / bad / indifferent.... the creame will rise to the top over time and be remembered, much of the rest will quite rightly be long forgotten.... there have been some seriously crap pieces to have floated past in the past ( lord knows i have some prime examples sat in folders). The volume of artists make the greater movement what it is, and inevitably most will be forgotten, the commercial use quite possibly has provided a longer life span than many artists / art work rightly deserve? having the oposite effect to what you are saying, maintaining pieces in the public conciousness longer than they would have otherwise?
Let me be clear by saying that I think its entirely unlikely that the entire group of urban artists is forgotten. My concern is that the greater movement is marginalized to a paragraph, with mention of a few standouts, while the greater movement and it's value to art history is lost against the din of commercial use. Same with any art scene / movement though? good / bad / indifferent.... the creame will rise to the top over time and be remembered, much of the rest will quite rightly be long forgotten.... there have been some seriously crap pieces to have floated past in the past ( lord knows i have some prime examples sat in folders). The volume of artists make the greater movement what it is, and inevitably most will be forgotten, the commercial use quite possibly has provided a longer life span than many artists / art work rightly deserve? having the oposite effect to what you are saying, maintaining pieces in the public conciousness longer than they would have otherwise? |
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Deleted
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January 1970
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street will eat itself, by Deleted on Oct 13, 2014 18:58:14 GMT 1, It's like trying to force Hip Hop into classical music appraisals.. It doesn't really fit, the academic tools developed over centuries to critique, understand or appraise Classical music or music based on western notation couldn't be deployed for sampling and rap. It took a loooong time for the concept or "rapping" words or sampling other peoples music to be regarded as having any cultural value or significance at all, a fad, a phase, cool. This only started to change when those in the culture or those curious enough to seriouly study the movement graduated into positions of influence, started their own labels and created a "industry" within the industry of "music" and brought their own scholars with them, who in turn of course published articles and tomes on the subject. The amount of people doing their doctorates on the subject of "street art" is testament to the cultures longevity and its (enforced ?) entry into "art history" so to speak. Established Fine Art academics and curators don't really have the knowledge or tools to fit what we do into their quite narrow and predefined template of what they have been taught to believe constitutes "important" art. New generations of young scholars attached to, or curious about Street Art, are busy creating the new tools and perspectives necessary for others to understand it across many fields of study. There is a revolution going on in both sanctioned and unsanctioned public art... and we're living through it. Fascinating times.
It's like trying to force Hip Hop into classical music appraisals.. It doesn't really fit, the academic tools developed over centuries to critique, understand or appraise Classical music or music based on western notation couldn't be deployed for sampling and rap. It took a loooong time for the concept or "rapping" words or sampling other peoples music to be regarded as having any cultural value or significance at all, a fad, a phase, cool. This only started to change when those in the culture or those curious enough to seriouly study the movement graduated into positions of influence, started their own labels and created a "industry" within the industry of "music" and brought their own scholars with them, who in turn of course published articles and tomes on the subject. The amount of people doing their doctorates on the subject of "street art" is testament to the cultures longevity and its (enforced ?) entry into "art history" so to speak. Established Fine Art academics and curators don't really have the knowledge or tools to fit what we do into their quite narrow and predefined template of what they have been taught to believe constitutes "important" art. New generations of young scholars attached to, or curious about Street Art, are busy creating the new tools and perspectives necessary for others to understand it across many fields of study. There is a revolution going on in both sanctioned and unsanctioned public art... and we're living through it. Fascinating times.
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chaserawr
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February 2011
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street will eat itself, by chaserawr on Oct 13, 2014 19:20:15 GMT 1, It's like trying to force Hip Hop into classical music appraisals.. It doesn't really fit, the academic tools developed over centuries to critique, understand or appraise Classical music or music based on western notation couldn't be deployed for sampling and rap. It took a loooong time for the concept or "rapping" words or sampling other peoples music to be regarded as having any cultural value or significance at all, a fad, a phase, cool. This only started to change when those in the culture or those curious enough to seriouly study the movement graduated into positions of influence, started their own labels and created a "industry" within the industry of "music" and brought their own scholars with them, who in turn of course published articles and tomes on the subject. The amount of people doing their doctorates on the subject of "street art" is testament to the cultures longevity and its (enforced ?) entry into "art history" so to speak. Established Fine Art academics and curators don't really have the knowledge or tools to fit what we do into their quite narrow and predefined template of what they have been taught to believe constitutes "important" art. New generations of young scholars attached to, or curious about Street Art, are busy creating the new tools and perspectives necessary for others to understand it across many fields of study. There is a revolution going on in both sanctioned and unsanctioned public art... and we're living through it. Fascinating times.
It's like trying to force Hip Hop into classical music appraisals.. It doesn't really fit, the academic tools developed over centuries to critique, understand or appraise Classical music or music based on western notation couldn't be deployed for sampling and rap. It took a loooong time for the concept or "rapping" words or sampling other peoples music to be regarded as having any cultural value or significance at all, a fad, a phase, cool. This only started to change when those in the culture or those curious enough to seriouly study the movement graduated into positions of influence, started their own labels and created a "industry" within the industry of "music" and brought their own scholars with them, who in turn of course published articles and tomes on the subject. The amount of people doing their doctorates on the subject of "street art" is testament to the cultures longevity and its (enforced ?) entry into "art history" so to speak. Established Fine Art academics and curators don't really have the knowledge or tools to fit what we do into their quite narrow and predefined template of what they have been taught to believe constitutes "important" art. New generations of young scholars attached to, or curious about Street Art, are busy creating the new tools and perspectives necessary for others to understand it across many fields of study. There is a revolution going on in both sanctioned and unsanctioned public art... and we're living through it. Fascinating times. QFT and basically what I was saying but better, cheers Nuart. |
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Dungle
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June 2011
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street will eat itself, by Dungle on Oct 13, 2014 19:23:57 GMT 1, 2 great posts there mouser and nuart festival
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Icesay
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March 2010
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street will eat itself, by Icesay on Oct 13, 2014 19:46:33 GMT 1, If I may throw in my tuppeny piece.....
I think it due to the skill of the artist, full stop.
Be it a concept, be it incredible execution or most importantly capturing a moment in social history which encapsulates a feeling.
Those who achieve the above will be remembered by the many. The artists on the periphary will fade as those few who remember them fade. The reality is recognition is often realised when an artist dies. Ironically never enjoying the fruits of their skill. Some living artists have gained prosperity but that isn't what they would want to be remembered by. Legacy.
If I may throw in my tuppeny piece.....
I think it due to the skill of the artist, full stop.
Be it a concept, be it incredible execution or most importantly capturing a moment in social history which encapsulates a feeling.
Those who achieve the above will be remembered by the many. The artists on the periphary will fade as those few who remember them fade. The reality is recognition is often realised when an artist dies. Ironically never enjoying the fruits of their skill. Some living artists have gained prosperity but that isn't what they would want to be remembered by. Legacy.
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graffuturism
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March 2010
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street will eat itself, by graffuturism on Oct 13, 2014 20:30:51 GMT 1, I wouldn't worry about urban/graffiti art disappearing or being a blip in the historical narrative as others have stated its here to last, only reason why it's taking longer to adapt is the academics trying to hold on to their precious moment that has passed. Instead of learning about ours they dig deeper in their own Stance. Art movements have cycle and spiraled at alarming rates from dada to surrealism to abstract expressionism these movements lasted each less than a decade till something new too their place. Compare that cycle to now where we have been stuck in the same cycle for almost 5 decades now. The artworld hasn't moved on from conceptualism and what was being painted in the 70's. Academia and the artworld itself has been stuck in one moment the past decades and have not moved forward largely in part to their relationship to the market. U.S. in the other hand never had a need for the market or the artworld to validate us, yet now we enter the area regardless and it's only a matter of time till the academics catch up to what already happened. Then we'll be old news by the time they figure it out.
I wouldn't worry about urban/graffiti art disappearing or being a blip in the historical narrative as others have stated its here to last, only reason why it's taking longer to adapt is the academics trying to hold on to their precious moment that has passed. Instead of learning about ours they dig deeper in their own Stance. Art movements have cycle and spiraled at alarming rates from dada to surrealism to abstract expressionism these movements lasted each less than a decade till something new too their place. Compare that cycle to now where we have been stuck in the same cycle for almost 5 decades now. The artworld hasn't moved on from conceptualism and what was being painted in the 70's. Academia and the artworld itself has been stuck in one moment the past decades and have not moved forward largely in part to their relationship to the market. U.S. in the other hand never had a need for the market or the artworld to validate us, yet now we enter the area regardless and it's only a matter of time till the academics catch up to what already happened. Then we'll be old news by the time they figure it out.
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street will eat itself, by Peter Bengtsen on Oct 13, 2014 21:25:38 GMT 1, I wouldn't worry about urban/graffiti art disappearing or being a blip in the historical narrative as others have stated its here to last, only reason why it's taking longer to adapt is the academics trying to hold on to their precious moment that has passed. Instead of learning about ours they dig deeper in their own Stance.
One reason that academic texts lack behind is not that scholars are "trying to hold on to their precious moment", but that academic texts take longer to publish than blog posts, newspaper or magazine articles. This is one reason some scholars - when they can find the time - also publish their work through other outlets.
Also, you seem to make "academics" out to somehow be in opposition to - or far removed from - the worlds of graffiti and street art. However, the fact is that quite a few of the scholars who write about these topics now have old roots in the cultures they write about.
The artworld hasn't moved on from conceptualism and what was being painted in the 70's. Academia and the artworld itself has been stuck in one moment the past decades and have not moved forward largely in part to their relationship to the market.
This part of your post really is too generalising to be of any merit. "The artworld" and "academia" are not homogenous entities and there is plenty of scholarly work being done on topics outside the very narrow scope you outline.
U.S. in the other hand never had a need for the market or the artworld to validate us, yet now we enter the area regardless and it's only a matter of time till the academics catch up to what already happened. Then we'll be old news by the time they figure it out.
Again, many scholars have already "figured it out". However, surprisingly to some perhaps, writing something good and comprehensive takes time. Add to the writing itself an elaborate peer reviewed publication process, and you will have at least part of the answer as to why academic publications may seem to deal mainly in "old news".
Additionally, I don't know any academics whose goal it would be to "catch up to what already happened". There are plenty of publications that deal with day-to-day events within the street art world. The role of the academic publication is a different one.
I wouldn't worry about urban/graffiti art disappearing or being a blip in the historical narrative as others have stated its here to last, only reason why it's taking longer to adapt is the academics trying to hold on to their precious moment that has passed. Instead of learning about ours they dig deeper in their own Stance.
One reason that academic texts lack behind is not that scholars are "trying to hold on to their precious moment", but that academic texts take longer to publish than blog posts, newspaper or magazine articles. This is one reason some scholars - when they can find the time - also publish their work through other outlets.
Also, you seem to make "academics" out to somehow be in opposition to - or far removed from - the worlds of graffiti and street art. However, the fact is that quite a few of the scholars who write about these topics now have old roots in the cultures they write about.
The artworld hasn't moved on from conceptualism and what was being painted in the 70's. Academia and the artworld itself has been stuck in one moment the past decades and have not moved forward largely in part to their relationship to the market.
This part of your post really is too generalising to be of any merit. "The artworld" and "academia" are not homogenous entities and there is plenty of scholarly work being done on topics outside the very narrow scope you outline.
U.S. in the other hand never had a need for the market or the artworld to validate us, yet now we enter the area regardless and it's only a matter of time till the academics catch up to what already happened. Then we'll be old news by the time they figure it out.
Again, many scholars have already "figured it out". However, surprisingly to some perhaps, writing something good and comprehensive takes time. Add to the writing itself an elaborate peer reviewed publication process, and you will have at least part of the answer as to why academic publications may seem to deal mainly in "old news".
Additionally, I don't know any academics whose goal it would be to "catch up to what already happened". There are plenty of publications that deal with day-to-day events within the street art world. The role of the academic publication is a different one.
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graffuturism
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March 2010
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street will eat itself, by graffuturism on Oct 13, 2014 23:09:52 GMT 1, I wouldn't worry about urban/graffiti art disappearing or being a blip in the historical narrative as others have stated its here to last, only reason why it's taking longer to adapt is the academics trying to hold on to their precious moment that has passed. Instead of learning about ours they dig deeper in their own Stance.
One reason that academic texts lack behind is not that scholars are "trying to hold on to their precious moment", but that academic texts take longer to publish than blog posts, newspaper or magazine articles. This is one reason some scholars - when they can find the time - also publish their work through other outlets.
You are correct I was making a generalized quick comment due to being on my phone, I should differentiate from I think the term academics is generally dispersed amongst research and what is being taught to the new generation of artists obtaining MFA's and so forth. I am not a authority on the subject but I would guess there is a large gap between these. Maybe you can provide some insight into how both are dealing with Urban/Graffiti/Street Art. What I should have said was along the lines of those holding a position such as educators, and critics whose research and expertise is entrenched in artforms of the past that have now become outdated. Many Critics who canonized art movements such as Greenberg quit writing altogether rather than deal with the new Pop and postmodern art. A changing of the guard I think took place during this time after abstract expressionism, and I am not sure we have gotten past this point nor have the critics. Arthur Danto's book After the end of art is an excellent entry way into what was to come and Danto even addressed Graffiti as important prospective art in the 80's. Yet he didn't make any essays on the subject there is written correspondence I have seen that states this, I am sure it will be published at some point. I agree with you that many books, thesis, papers are being written by a new age of writers who are working on this new problem yet until this new generation gets to certain levels of influence it will be tough to get the whole story told.
Also, you seem to make "academics" out to somehow be in opposition to - or far removed from - the worlds of graffiti and street art. However, the fact is that quite a few of the scholars who write about these topics now have old roots in the cultures they write about.
Agreed, but I still think that there is a large gap of artists writing about street art for a degree versus those rehashing the last 40 years of art.
The artworld hasn't moved on from conceptualism and what was being painted in the 70's. Academia and the artworld itself has been stuck in one moment the past decades and have not moved forward largely in part to their relationship to the market.
This part of your post really is too generalising to be of any merit. "The artworld" and "academia" are not homogenous entities and there is plenty of scholarly work being done on topics outside the very narrow scope you outline.
Like I said maybe I should have said it better but I didnt want to get into the semantics of the whole concept of what dictates the market and what is being taught in our institutions versus what is being written about by its students.
U.S. in the other hand never had a need for the market or the artworld to validate us, yet now we enter the area regardless and it's only a matter of time till the academics catch up to what already happened. Then we'll be old news by the time they figure it out.
Again, many scholars have already "figured it out". However, surprisingly to some perhaps, writing something good and comprehensive takes time. Add to the writing itself an elaborate peer reviewed publication process, and you will have at least part of the answer as to why academic publications may seem to deal mainly in "old news".
Additionally, I don't know any academics whose goal it would be to "catch up to what already happened". There are plenty of publications that deal with day-to-day events within the street art world. The role of the academic publication is a different one.
Im not saying they will write about the past like they are doing today, I am just making a statement that realistically it will take awhile for the writers you talk about who are actually trying to write papers and books on the subject to get to a point where it influences the big institutions and curators that dictate the market. I am sure some of the writers, curators and so forth will rise as the years fo by but at that point the moment will have passed and it will be more in a past tense reference. I dont see MFA's learning about Urban interventions, Street Art, or Progressive Graffiiti in the next couple years the same way they are taught about relational aesthetics, post structuralism and other aspects of art of the past couple of decades. I hope I am wrong and the educational fields adopt our artform faster than other artforms of the past but it really doesnt matter as I doubt we will see another generation of graffiti/street artists turned contemporary artists like we seen the past 2 decades. The personal history and moment was authentic with this generation creating something that wasnt planned or thought out in a need to change the artworld. Once it is assimilated into academia/education/market the new generation will have a different perspective and introduction to the genre which we can already see in some cases.
I do appreciate your response and taking the time, I am no expert but I am deeply involved with trying to gather the new generation of writers and critics together to form a large grouping of resources. Feel free to send me a PM as I can invite you to participate in relevant discussions amongst some of todays writers.
I wouldn't worry about urban/graffiti art disappearing or being a blip in the historical narrative as others have stated its here to last, only reason why it's taking longer to adapt is the academics trying to hold on to their precious moment that has passed. Instead of learning about ours they dig deeper in their own Stance.
One reason that academic texts lack behind is not that scholars are "trying to hold on to their precious moment", but that academic texts take longer to publish than blog posts, newspaper or magazine articles. This is one reason some scholars - when they can find the time - also publish their work through other outlets.
You are correct I was making a generalized quick comment due to being on my phone, I should differentiate from I think the term academics is generally dispersed amongst research and what is being taught to the new generation of artists obtaining MFA's and so forth. I am not a authority on the subject but I would guess there is a large gap between these. Maybe you can provide some insight into how both are dealing with Urban/Graffiti/Street Art. What I should have said was along the lines of those holding a position such as educators, and critics whose research and expertise is entrenched in artforms of the past that have now become outdated. Many Critics who canonized art movements such as Greenberg quit writing altogether rather than deal with the new Pop and postmodern art. A changing of the guard I think took place during this time after abstract expressionism, and I am not sure we have gotten past this point nor have the critics. Arthur Danto's book After the end of art is an excellent entry way into what was to come and Danto even addressed Graffiti as important prospective art in the 80's. Yet he didn't make any essays on the subject there is written correspondence I have seen that states this, I am sure it will be published at some point. I agree with you that many books, thesis, papers are being written by a new age of writers who are working on this new problem yet until this new generation gets to certain levels of influence it will be tough to get the whole story told.
Also, you seem to make "academics" out to somehow be in opposition to - or far removed from - the worlds of graffiti and street art. However, the fact is that quite a few of the scholars who write about these topics now have old roots in the cultures they write about.
Agreed, but I still think that there is a large gap of artists writing about street art for a degree versus those rehashing the last 40 years of art.
The artworld hasn't moved on from conceptualism and what was being painted in the 70's. Academia and the artworld itself has been stuck in one moment the past decades and have not moved forward largely in part to their relationship to the market.
This part of your post really is too generalising to be of any merit. "The artworld" and "academia" are not homogenous entities and there is plenty of scholarly work being done on topics outside the very narrow scope you outline.
Like I said maybe I should have said it better but I didnt want to get into the semantics of the whole concept of what dictates the market and what is being taught in our institutions versus what is being written about by its students.
U.S. in the other hand never had a need for the market or the artworld to validate us, yet now we enter the area regardless and it's only a matter of time till the academics catch up to what already happened. Then we'll be old news by the time they figure it out.
Again, many scholars have already "figured it out". However, surprisingly to some perhaps, writing something good and comprehensive takes time. Add to the writing itself an elaborate peer reviewed publication process, and you will have at least part of the answer as to why academic publications may seem to deal mainly in "old news".
Additionally, I don't know any academics whose goal it would be to "catch up to what already happened". There are plenty of publications that deal with day-to-day events within the street art world. The role of the academic publication is a different one.
I m not saying they will write about the past like they are doing today, I am just making a statement that realistically it will take awhile for the writers you talk about who are actually trying to write papers and books on the subject to get to a point where it influences the big institutions and curators that dictate the market. I am sure some of the writers, curators and so forth will rise as the years fo by but at that point the moment will have passed and it will be more in a past tense reference. I dont see MFA's learning about Urban interventions, Street Art, or Progressive Graffiiti in the next couple years the same way they are taught about relational aesthetics, post structuralism and other aspects of art of the past couple of decades. I hope I am wrong and the educational fields adopt our artform faster than other artforms of the past but it really doesnt matter as I doubt we will see another generation of graffiti/street artists turned contemporary artists like we seen the past 2 decades. The personal history and moment was authentic with this generation creating something that wasnt planned or thought out in a need to change the artworld. Once it is assimilated into academia/education/market the new generation will have a different perspective and introduction to the genre which we can already see in some cases.
I do appreciate your response and taking the time, I am no expert but I am deeply involved with trying to gather the new generation of writers and critics together to form a large grouping of resources. Feel free to send me a PM as I can invite you to participate in relevant discussions amongst some of todays writers. |
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street will eat itself, by Deleted on Oct 14, 2014 1:17:06 GMT 1, I'd highly recommend Peter's book "The Street Art World", he has a pretty unique insight into the culture, particularly from a sociological perspective. He also gave a great presentation at Nuart. Just one of a new breed I'm sure you'll be hearing more about in the future. Or at least every 3 or 4 years or so from now.
Anyway...
Bad Graffiti by Nuart Festival
I'd highly recommend Peter's book "The Street Art World", he has a pretty unique insight into the culture, particularly from a sociological perspective. He also gave a great presentation at Nuart. Just one of a new breed I'm sure you'll be hearing more about in the future. Or at least every 3 or 4 years or so from now. Anyway... Bad Graffiti by Nuart Festival |
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street will eat itself, by Deleted on Oct 14, 2014 1:43:44 GMT 1, Art institutions and academia aren't one and the same at all, I'd suggest some of you do some searches on google scholar, research gate etc to actually understand what academics are writing about.
Art institutions and academia aren't one and the same at all, I'd suggest some of you do some searches on google scholar, research gate etc to actually understand what academics are writing about.
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street will eat itself, by Deleted on Oct 14, 2014 6:29:56 GMT 1, Streets are so cold nowadays, the art is best viewed from an auction catalogue in front of a warm fire.
That image would make a nice print!
And i have nothing to contribute to the actual topic, sorry.
Streets are so cold nowadays, the art is best viewed from an auction catalogue in front of a warm fire. That image would make a nice print! And i have nothing to contribute to the actual topic, sorry. |
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Hairbland
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November 2010
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street will eat itself, by Hairbland on Oct 14, 2014 14:08:34 GMT 1, Let me be clear by saying that I think its entirely unlikely that the entire group of urban artists is forgotten. My concern is that the greater movement is marginalized to a paragraph, with mention of a few standouts, while the greater movement and it's value to art history is lost against the din of commercial use.
Unless you look at the street as an incubator for talented artists that don't have the MFA or connections to waltz into a gallery. In NYC I've been aware of Street art since the 70's...some like Basquiat, Haring, McGee, Bsnksy, KAWS and others have moved on to a larger audience because they are talented, some produce mid-range work, and some like Alec M or Mr B are just crassly riding along while snookering uneducated folk with deep pockets.
The cream will rise to the top , focusing on "art" rather than "street".
Let me be clear by saying that I think its entirely unlikely that the entire group of urban artists is forgotten. My concern is that the greater movement is marginalized to a paragraph, with mention of a few standouts, while the greater movement and it's value to art history is lost against the din of commercial use. Unless you look at the street as an incubator for talented artists that don't have the MFA or connections to waltz into a gallery. In NYC I've been aware of Street art since the 70's...some like Basquiat, Haring, McGee, Bsnksy, KAWS and others have moved on to a larger audience because they are talented, some produce mid-range work, and some like Alec M or Mr B are just crassly riding along while snookering uneducated folk with deep pockets. The cream will rise to the top , focusing on "art" rather than "street". |
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opalis141
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April 2014
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street will eat itself, by opalis141 on Oct 14, 2014 16:28:47 GMT 1, Very interesting conversation here--I would like to add an additional perspective: Many of the arts institutions I have worked in (museums in NYC) are very interested in street/urban contemporary art. One of the things these institutions struggle with is the best way to incorporate what is, often, an ephemeral and place-based art form into a formal institution. I think there is a strong understanding of the importance of these art forms and how they are shaping the art world but a gap exists between that understanding and how to actually implement and exhibit street art within an institution in a way that doesn't remove meaning from that art. 5 Pointz, which considered itself an informal museum, attempted to create a model for this but even that had it's detractors since the art was curated/selected. The Mana Museum of Urban Arts will be opening in NJ soon and is the first such formal institution to try and tackle this issue on a large scale in the US. I should also note that the existence of a museum (of this size/potential institutional power, given its backers) solely dedicated to the art form also points to a certain level of permanence within the art-historical canon.
As for the question regarding academics: In my experience there are a large number of students studying the genre, which others have pointed out. In terms of educators--street art tactics are being used in a myriad of museum education programs. In addition, the graduate program I obtained my degree from, while not having a specific course dedicated to street art, did address it in relation to the subject of the courses I attended.
Very interesting conversation here--I would like to add an additional perspective: Many of the arts institutions I have worked in (museums in NYC) are very interested in street/urban contemporary art. One of the things these institutions struggle with is the best way to incorporate what is, often, an ephemeral and place-based art form into a formal institution. I think there is a strong understanding of the importance of these art forms and how they are shaping the art world but a gap exists between that understanding and how to actually implement and exhibit street art within an institution in a way that doesn't remove meaning from that art. 5 Pointz, which considered itself an informal museum, attempted to create a model for this but even that had it's detractors since the art was curated/selected. The Mana Museum of Urban Arts will be opening in NJ soon and is the first such formal institution to try and tackle this issue on a large scale in the US. I should also note that the existence of a museum (of this size/potential institutional power, given its backers) solely dedicated to the art form also points to a certain level of permanence within the art-historical canon.
As for the question regarding academics: In my experience there are a large number of students studying the genre, which others have pointed out. In terms of educators--street art tactics are being used in a myriad of museum education programs. In addition, the graduate program I obtained my degree from, while not having a specific course dedicated to street art, did address it in relation to the subject of the courses I attended.
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January 1970
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street will eat itself, by Deleted on Oct 14, 2014 16:36:21 GMT 1, I'd love to see how Conor Harrington (and a few others) will be regarded in the future, as his work nicely bridges the gap between "street art" and "classic" art. You could imagine seeing his work in both The Met, or MoMA, as well as on a local street corner
I'd love to see how Conor Harrington (and a few others) will be regarded in the future, as his work nicely bridges the gap between "street art" and "classic" art. You could imagine seeing his work in both The Met, or MoMA, as well as on a local street corner
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nrgball
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January 2011
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street will eat itself, by nrgball on Oct 14, 2014 16:56:36 GMT 1, The fact that The Royal Ballet House and the national gallery in the UK have invited Phlegm, the NYC Ballet at Lincoln Center has invited FAILE & JR and the Pantheon has invited JR to major commissioned exhibitions is quite telling. These few examples show how Urban/Street Art has graduated and is inspiring these high society institutions to take notice. They are also trying to gather interest amongst the younger generations by including our beloved art form in their halls.
This art movement is here to stay. Basquiat and Haring made sure of it and Banksy opened the flood gates. It is now up to the individual artists, their talent and successful management of their careers to determine who becomes legend and who fades into the halls of time.
There is certainly an extension of street/urban art that is mirroring a truncated Hirst formula that will lead to their own demise. It is seen in the mishandling of artists and the exploitation by galleries who lack vision and understanding of longevity as well as the lack of understanding by young artists themselves. The flipping vultures play a role in this game as well. That culture will eat itself, IMHO.
The fact that The Royal Ballet House and the national gallery in the UK have invited Phlegm, the NYC Ballet at Lincoln Center has invited FAILE & JR and the Pantheon has invited JR to major commissioned exhibitions is quite telling. These few examples show how Urban/Street Art has graduated and is inspiring these high society institutions to take notice. They are also trying to gather interest amongst the younger generations by including our beloved art form in their halls.
This art movement is here to stay. Basquiat and Haring made sure of it and Banksy opened the flood gates. It is now up to the individual artists, their talent and successful management of their careers to determine who becomes legend and who fades into the halls of time.
There is certainly an extension of street/urban art that is mirroring a truncated Hirst formula that will lead to their own demise. It is seen in the mishandling of artists and the exploitation by galleries who lack vision and understanding of longevity as well as the lack of understanding by young artists themselves. The flipping vultures play a role in this game as well. That culture will eat itself, IMHO.
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graffuturism
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March 2010
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street will eat itself, by graffuturism on Oct 14, 2014 20:07:25 GMT 1, Very interesting conversation here--I would like to add an additional perspective: Many of the arts institutions I have worked in (museums in NYC) are very interested in street/urban contemporary art. One of the things these institutions struggle with is the best way to incorporate what is, often, an ephemeral and place-based art form into a formal institution. I think there is a strong understanding of the importance of these art forms and how they are shaping the art world but a gap exists between that understanding and how to actually implement and exhibit street art within an institution in a way that doesn't remove meaning from that art. 5 Pointz, which considered itself an informal museum, attempted to create a model for this but even that had it's detractors since the art was curated/selected. The Mana Museum of Urban Arts will be opening in NJ soon and is the first such formal institution to try and tackle this issue on a large scale in the US. I should also note that the existence of a museum (of this size/potential institutional power, given its backers) solely dedicated to the art form also points to a certain level of permanence within the art-historical canon. As for the question regarding academics: In my experience there are a large number of students studying the genre, which others have pointed out. In terms of educators--street art tactics are being used in a myriad of museum education programs. In addition, the graduate program I obtained my degree from, while not having a specific course dedicated to street art, did address it in relation to the subject of the courses I attended.
Very interesting conversation here--I would like to add an additional perspective: Many of the arts institutions I have worked in (museums in NYC) are very interested in street/urban contemporary art. One of the things these institutions struggle with is the best way to incorporate what is, often, an ephemeral and place-based art form into a formal institution. I think there is a strong understanding of the importance of these art forms and how they are shaping the art world but a gap exists between that understanding and how to actually implement and exhibit street art within an institution in a way that doesn't remove meaning from that art. 5 Pointz, which considered itself an informal museum, attempted to create a model for this but even that had it's detractors since the art was curated/selected. The Mana Museum of Urban Arts will be opening in NJ soon and is the first such formal institution to try and tackle this issue on a large scale in the US. I should also note that the existence of a museum (of this size/potential institutional power, given its backers) solely dedicated to the art form also points to a certain level of permanence within the art-historical canon. As for the question regarding academics: In my experience there are a large number of students studying the genre, which others have pointed out. In terms of educators--street art tactics are being used in a myriad of museum education programs. In addition, the graduate program I obtained my degree from, while not having a specific course dedicated to street art, did address it in relation to the subject of the courses I attended. Great points. Anyone else receive a MFA recently and can address just how much of street art is covered in its curriculum. I would be interested in this, also another note many MFA programs are taught by some of todays top working contemporary artists. It would be odd to see see the likes of Barry Mcgee and other artists teaching at tops MFA programs anytime soon. |
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opalis141
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April 2014
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street will eat itself, by opalis141 on Oct 14, 2014 20:10:56 GMT 1, Very interesting conversation here--I would like to add an additional perspective: Many of the arts institutions I have worked in (museums in NYC) are very interested in street/urban contemporary art. One of the things these institutions struggle with is the best way to incorporate what is, often, an ephemeral and place-based art form into a formal institution. I think there is a strong understanding of the importance of these art forms and how they are shaping the art world but a gap exists between that understanding and how to actually implement and exhibit street art within an institution in a way that doesn't remove meaning from that art. 5 Pointz, which considered itself an informal museum, attempted to create a model for this but even that had it's detractors since the art was curated/selected. The Mana Museum of Urban Arts will be opening in NJ soon and is the first such formal institution to try and tackle this issue on a large scale in the US. I should also note that the existence of a museum (of this size/potential institutional power, given its backers) solely dedicated to the art form also points to a certain level of permanence within the art-historical canon. As for the question regarding academics: In my experience there are a large number of students studying the genre, which others have pointed out. In terms of educators--street art tactics are being used in a myriad of museum education programs. In addition, the graduate program I obtained my degree from, while not having a specific course dedicated to street art, did address it in relation to the subject of the courses I attended. Great points. Anyone else receive a MFA recently and can address just how much of street art is covered in its curriculum. I would be interested in this, also another note many MFA programs are taught by some of todays top working contemporary artists. It would be odd to see see the likes of Barry Mcgee and other artists teaching at tops MFA programs anytime soon.
Very interesting conversation here--I would like to add an additional perspective: Many of the arts institutions I have worked in (museums in NYC) are very interested in street/urban contemporary art. One of the things these institutions struggle with is the best way to incorporate what is, often, an ephemeral and place-based art form into a formal institution. I think there is a strong understanding of the importance of these art forms and how they are shaping the art world but a gap exists between that understanding and how to actually implement and exhibit street art within an institution in a way that doesn't remove meaning from that art. 5 Pointz, which considered itself an informal museum, attempted to create a model for this but even that had it's detractors since the art was curated/selected. The Mana Museum of Urban Arts will be opening in NJ soon and is the first such formal institution to try and tackle this issue on a large scale in the US. I should also note that the existence of a museum (of this size/potential institutional power, given its backers) solely dedicated to the art form also points to a certain level of permanence within the art-historical canon. As for the question regarding academics: In my experience there are a large number of students studying the genre, which others have pointed out. In terms of educators--street art tactics are being used in a myriad of museum education programs. In addition, the graduate program I obtained my degree from, while not having a specific course dedicated to street art, did address it in relation to the subject of the courses I attended. Great points. Anyone else receive a MFA recently and can address just how much of street art is covered in its curriculum. I would be interested in this, also another note many MFA programs are taught by some of todays top working contemporary artists. It would be odd to see see the likes of Barry Mcgee and other artists teaching at tops MFA programs anytime soon. Just a quick note: I actually didn't receive an MFA but concurrent MAs, so my experiences were specifically regarding a Museum Studies program--it might be really different for art history or an MFA. |
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graffuturism
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March 2010
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street will eat itself, by graffuturism on Oct 14, 2014 20:13:03 GMT 1, The fact that The Royal Ballet House and the national gallery in the UK have invited Phlegm, the NYC Ballet at Lincoln Center has invited FAILE & JR and the Pantheon has invited JR to major commissioned exhibitions is quite telling. These few examples show how Urban/Street Art has graduated and is inspiring these high society institutions to take notice. They are also trying to gather interest amongst the younger generations by including our beloved art form in their halls. This art movement is here to stay. Basquiat and Haring made sure of it and Banksy opened the flood gates. It is now up to the individual artists, their talent and successful management of their careers to determine who becomes legend and who fades into the halls of time. There is certainly an extension of street/urban art that is mirroring a truncated Hirst formula that will lead to their own demise. It is seen in the mishandling of artists and the exploitation by galleries who lack vision and understanding of longevity as well as the lack of understanding by young artists themselves. The flipping vultures play a role in this game as well. That culture will eat itself, IMHO.
The fact that The Royal Ballet House and the national gallery in the UK have invited Phlegm, the NYC Ballet at Lincoln Center has invited FAILE & JR and the Pantheon has invited JR to major commissioned exhibitions is quite telling. These few examples show how Urban/Street Art has graduated and is inspiring these high society institutions to take notice. They are also trying to gather interest amongst the younger generations by including our beloved art form in their halls. This art movement is here to stay. Basquiat and Haring made sure of it and Banksy opened the flood gates. It is now up to the individual artists, their talent and successful management of their careers to determine who becomes legend and who fades into the halls of time. There is certainly an extension of street/urban art that is mirroring a truncated Hirst formula that will lead to their own demise. It is seen in the mishandling of artists and the exploitation by galleries who lack vision and understanding of longevity as well as the lack of understanding by young artists themselves. The flipping vultures play a role in this game as well. That culture will eat itself, IMHO. Interesting you mention the Galleries part in this progression and moment in the artform. One major gap we are witnessing is galleries that are able to properly represent and curate the genre. There is a glass ceiling of sorts with these urban art galleries and their ability to push forward and compete with the big name galleries. This lack of progression for the galleries who most likely understand the genre better than the top end galleries is holding it back a bit IMO. |
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Deleted
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January 1970
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street will eat itself, by Deleted on Oct 14, 2014 20:26:08 GMT 1, Very interesting conversation here--I would like to add an additional perspective: Many of the arts institutions I have worked in (museums in NYC) are very interested in street/urban contemporary art. One of the things these institutions struggle with is the best way to incorporate what is, often, an ephemeral and place-based art form into a formal institution. I think there is a strong understanding of the importance of these art forms and how they are shaping the art world but a gap exists between that understanding and how to actually implement and exhibit street art within an institution in a way that doesn't remove meaning from that art. 5 Pointz, which considered itself an informal museum, attempted to create a model for this but even that had it's detractors since the art was curated/selected. The Mana Museum of Urban Arts will be opening in NJ soon and is the first such formal institution to try and tackle this issue on a large scale in the US. I should also note that the existence of a museum (of this size/potential institutional power, given its backers) solely dedicated to the art form also points to a certain level of permanence within the art-historical canon. As for the question regarding academics: In my experience there are a large number of students studying the genre, which others have pointed out. In terms of educators--street art tactics are being used in a myriad of museum education programs. In addition, the graduate program I obtained my degree from, while not having a specific course dedicated to street art, did address it in relation to the subject of the courses I attended. Great points. Anyone else receive a MFA recently and can address just how much of street art is covered in its curriculum. I would be interested in this, also another note many MFA programs are taught by some of todays top working contemporary artists. It would be odd to see see the likes of Barry Mcgee and other artists teaching at tops MFA programs anytime soon.
I believe Chris Stain is now a professor down in NYC. I'd be curious as to how much street art is in his curriculum
Very interesting conversation here--I would like to add an additional perspective: Many of the arts institutions I have worked in (museums in NYC) are very interested in street/urban contemporary art. One of the things these institutions struggle with is the best way to incorporate what is, often, an ephemeral and place-based art form into a formal institution. I think there is a strong understanding of the importance of these art forms and how they are shaping the art world but a gap exists between that understanding and how to actually implement and exhibit street art within an institution in a way that doesn't remove meaning from that art. 5 Pointz, which considered itself an informal museum, attempted to create a model for this but even that had it's detractors since the art was curated/selected. The Mana Museum of Urban Arts will be opening in NJ soon and is the first such formal institution to try and tackle this issue on a large scale in the US. I should also note that the existence of a museum (of this size/potential institutional power, given its backers) solely dedicated to the art form also points to a certain level of permanence within the art-historical canon. As for the question regarding academics: In my experience there are a large number of students studying the genre, which others have pointed out. In terms of educators--street art tactics are being used in a myriad of museum education programs. In addition, the graduate program I obtained my degree from, while not having a specific course dedicated to street art, did address it in relation to the subject of the courses I attended. Great points. Anyone else receive a MFA recently and can address just how much of street art is covered in its curriculum. I would be interested in this, also another note many MFA programs are taught by some of todays top working contemporary artists. It would be odd to see see the likes of Barry Mcgee and other artists teaching at tops MFA programs anytime soon. I believe Chris Stain is now a professor down in NYC. I'd be curious as to how much street art is in his curriculum |
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Deleted
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January 1970
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street will eat itself, by Deleted on Oct 14, 2014 20:31:34 GMT 1, Who cares? We'll all be dead and our kids will be dead before us.....
Who cares? We'll all be dead and our kids will be dead before us.....
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