Street Art en acción: del graffiti artesanal al soporte digital
[EN] Graffiti includes different modalities which go from direct action –“Writing”, “Subway Art”, “Hip Hop Graffiti”I to indirect graffiti, promulgated on its own artistic field as “Stencil Art”, going through the new labels of “Postgraffiti”, “Neografitti”, “Street Art” or “Urban Art” of the end of...
| Autores: | , |
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| Tipo de recurso: | capítulo de libro |
| Fecha de publicación: | 2015 |
| País: | España |
| Institución: | Universitat Politècnica de València (UPV) |
| Repositorio: | RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia |
| Idioma: | español |
| OAI Identifier: | oai:riunet.upv.es:10251/88555 |
| Acceso en línea: | https://riunet.upv.es/handle/10251/88555 |
| Access Level: | acceso abierto |
| Palabra clave: | Arte Producción artística Estética Teoría del Arte Gestión cultural Educación artística Investigación artística |
| Sumario: | [EN] Graffiti includes different modalities which go from direct action –“Writing”, “Subway Art”, “Hip Hop Graffiti”I to indirect graffiti, promulgated on its own artistic field as “Stencil Art”, going through the new labels of “Postgraffiti”, “Neografitti”, “Street Art” or “Urban Art” of the end of the 0s, until the current animated graffiti, perhaps the last link of the chain, where craftwork finds a digital ally. We will analyse the work of some artists and illustrators who, not satisfied with only painting walls, have dedicated a long time and effort to create animations “stock motion” with graffiti. This is the case of Blue’s animated graffiti, or Insa’s animated Gifs, which can only be visualized in the Web. Other artists conceive the graffiti as an integral part of the work which afterwards will be envisioned in a different support from the wall in which it was gestated. As examples of it we find the photographs of Alexander Orion, also author of a performance of “urban cleaning” in Sao Paulo, or the interactive graffiti of Sweza, in which the interaction of a pedestrian provided with a QR code of a Smartphone is required to visualize the work the artist proposes. We will end up with a critical reflection around the esthetical and conceptual connotations of the handcrafted graffiti and the animated graffiti of last generation. |
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