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2012 Fall. ; Includes bibliographical references. ; Text in German ; title and abstract in English and German. ; Graffiti, Post-Graffiti, Urban Art and Street Art are sometimes used as synonyms. Authors in the field of Street Art agree that this art form derives directly from the subway graffiti in New York, and often designate it as an art movement. This work defends the thesis that the more the art on the Berlin Wall increased the tolerance towards and integration of the art in the public spaces, the more it contributed to the popularization of the contemporary Street Art in Berlin. The goal of this paper is trifold: 1. to clarify the relationship between the Street Art in Berlin today and the art on the Berlin Wall; 2. to understand the institutionalization of this art form; and 3. to bring light to the democratization of art through Street Art in Berlin. With this purpose, I will analyze the efforts that differentiate Berlin from other cities and position Street Art not as vandalism, but rather as a part of the art in public spaces. The essence of this art form derives from site-specific art, whereby the place plays an inherent part in the artwork. These qualities can be recognized in the Street Art in Berlin from the 70's until today, and its popularization is deeply connected with the German cultural politics of the 70's and the historical significance of the Wall Art. In addition, Street Art challenges the paradigms between high and low art, as well as the contemporary role of the museum. The consequences of the institutionalization of this art form are its democratization and commodification. Finally, Street Art can be considered responsible for a Musealization from Below, whereby the place (the walls of the metropolis) becomes part of the work and its cultural, historical and identity values are emphasized. This is particularly true in the case of the Berlin Wall. Street Art is site-specific, because the works give the place a new meaning and vice-versa. Instead of simulating Street Art in an institutional space, the projects in Berlin attempt to transform the street into an art gallery, inserting the art into the life of the people and finally contributing to the democratization of art.

Intro -- Contents -- List of Figures -- Introducing the Street Art of Resistance -- Revolutionary Graffiti in Egypt: A Case Example -- Social Life of Images -- The Symbolic Nature of Images -- Social Actors and Dialogue -- Context -- Transformation of Images -- On the Multiple Forms of Art and Resistance -- The Chapters to Follow -- References -- Part I: Theories of Aesthetics, Resistance and Social Change -- Art and Social Change: The Role of Creativity and Wonder -- Creativity and Social Change -- How is Street Art Creative? -- Creativity, Perspectives, and Wonder -- Social Change, Art, and Collective Wonder -- Final Reflections -- References -- Subjectivity, Aesthetics, and the Nexus of Injustice: From Traditional to Street Art -- Economic-Political Injustice -- Injustices of Representation, Recognition, and Interaction -- Subjectification as Injustice -- Conditions for the Possibility of Resistance: From Traditional to Street Art -- References -- Resisting Forms: Prolegomena to an Aesthetics of Resistance -- Intervening Art -- The Aesthetic Threshold -- Graffiti and Street Art as Expressive Objects -- The Energies of Graffiti and Street Art -- Between Medium and Subject Matter -- Communication and Critique -- References -- Part II: Image Circulation and Politics -- Indigenous Images of Democracy on City Streets: Native Representations in Contemporary Chilean Graffiti and Muralism -- Introduction -- The Emergence of Street Art in Chile -- Indigenous Activism and Politics -- The Unstable Reception of Indigenous Imagery -- Indigenous Iconographies: Meli Wuayra -- Indigenous Iconographies: Gigi's Luisas -- Indigenous Iconographies: Inti's Ekeko and Ekeka -- Conclusion -- References -- The Resistance Passed Through Here: Arabic Graffiti of Resistance, Before and After the Arab Uprisings -- Introduction -- Graffiti as Counter-Narrative.

Dieses Buch ist die erste wissenschaftliche Analyse von Street-Art. Es gewährt einen tiefen Einblick in die Subkultur und fragt, inwiefern Street-Art zwischen Graffiti, Bildender Kunst und Werbung zu verorten ist.Die Ergebnisse der Studie basieren auf einer vier Jahre langen qualitativen Recherche, während der die Autorin mit internationalen, namhaften Akteuren wie Blek Le Rat, D*Face, Invader, Jeroen Jongeleen und Stefan Marx sprach. Die Arbeit anderer Akteure - wie Banksy und Shepard Fairey (OBEY) - wird vorgestellt. Den theoretischen Unterbau liefern die Feldtheorie von Pierre Bourdieu und Subkulturtheorien von Sarah Thornton und David Muggleton. Für die zweite Auflage 2012 hat die Autorin erneut Kontakt mit den Akteuren aufgenommen und ihren Werdegang der letzten Jahre verfolgt.

Riga street art map was made as a collaborative project by FaceBook group Ielu Mākslas mednieki (street art hunters). The group was created in September 2017 after an initial FB post by Agnese Aljena inviting people to create such map. Post went viral and soon the group reached 500+ members, all hunting street art in Riga and posting online their findings. It took about 2 months to create initial street art map covering most of the notable street art object of the city. Later new created artwork was added and identified destroyed art work is marked with black markers.

"Street Art erschließt der Kunst das 'Design' (Niklas Luhmann) des öffentlichen Raums als neuartiges Wahrnehmungsmedium und verzichtet dafür auf eine sekundäre Rahmung durch den Kunstbetrieb. Ihre 'Pieces' lassen so die Unwahrscheinlichkeit hervortreten, dass wahrnehmbare Objekte überhaupt als Kunstwerke rezipiert werden. Zugleich verweisen sie auf das systemtheoretische Desiderat einer Theorie der Kunstrezeption. Dieser Beitrag nutzt die Eigenheiten der Street Art, um das Fungieren von Kunstwerken in der sozialen Situation der Kunstrezeption und die Konstitution dieser Situation genauer zu beschreiben. Dabei wird deutlich, dass die 'Pieces' der Street Art typischerweise zwei Probleme bewältigen müssen, die normalerweise in sozial gut typisierten 'Interaktionsformaten' (Jürgen Markowitz) der Kunstbetrachtung bearbeitet und invisibilisiert werden: Sie müssen die Aufmerksamkeit der Passanten überraschend irritieren, indem sie eine 'logische Sekunde der Anarchie' (Luhmann) auslösen, und anschließend als ein von einem Künstler hervorgebrachtes Kunstwerk überzeugen. Durch die Etablierung von neuartigen Interaktionsformaten der Kunstbetrachtung experimentiert Street Art mit dem Inklusionsmodus des Kunstsystems und verändert die Partizipationsmuster der Kunstrezeption." (Autorenreferat)