Beyond the Public Art Machine: A Critical Examination of Street Art as Public Art

Bengtsen, Peter

doi:10.1080/00233609.2012.762804

Cited by 25 publications

(22 citation statements)

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“…Some authors approach it as informal, nonauthorized urban interventions alluding to its subcultural character (Ross 2016). Others emphasize the fact that it is an increasingly legitimate and institutionalized artistic movement (Bengtsen 2013, 2014; Schacter 2014), which has infiltrated the art market (Wells 2016). As we see it, its ambiguous character makes using the concept problematic, because a wide array of manifestations can be classified under the same label.…”

Section: Ua As Public Artmentioning

confidence: 99%

“…We enter, then, in the field of what is labeled as public art. Despite the wide range of perspectives when it comes to public art (Bengtsen 2013; Campos and Câmara 2020; Miles 1997), we have adopted in this article Malcom Miles’ generic definition: “works commissioned for sites of open public access” (Miles 1997:3), that are “located outside the spaces and conventions of galleries and museums” (Miles 1997:4). This way we are able to focus essentially on the processes through which public authorities regulate the production of art in the city, converting UA currently into one of the most demanded categories (Guinard and Margier 2018; Schacter 2014).…”

Section: Ua As Public Artmentioning

confidence: 99%

“…The latter point to the processes of gentrification and property speculation, the instrumentalization and domestication of those arts, and their subordination to the taste of the masses and to an economist logic (Brighenti 2016; Evans 2009, 2016; Pavoni 2019; Quinn 2005; Romero 2018; Schacter 2014; Trubina 2018; Wang 2009). This perspective emphasizes how these arts benefit a neoliberal model of development that, far from promoting inclusion and democratic access to the city and the cultural and artistic assets, perpetuates instead several types of asymmetries (Bengtsen 2013; Evans 2009; Sacco et al 2019; Trubina 2018).…”

Section: Ua As Public Artmentioning

confidence: 99%

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Public Strategies for the Promotion of Urban Art: The Lisbon Metropolitan Area Case

Campos

Barbio

2021

City & Community

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Urban art has emerged as a new feature of cities in recent decades. Its wide success as a fresh, youthful, and cosmopolitan artistic movement has elicited the attention of urban planners, who increasingly use it in their strategies for urban development. This artistic expression has been understood as a resource to be used in urban and cultural policymaking, especially when it comes to urban reassessment and marketing. This dynamic is embedded in a paradigm where the arts and culture are increasingly understood as resources for urban development and city marketing. In this article, we draw on qualitative empirical material (interviews, official documents, press releases, websites) from an ongoing research project in the context of the Lisbon Metropolitan Area. One of the aims of this project is to analyze the link between local authorities and urban art aiming at understanding existing representations and the kinds of strategies that were put in place for its management. We conclude that largely local authorities use urban art to achieve three main strategic goals: the strategy of “landscape construction and urban reassessment,” the strategy of “refashioning the city image/city branding,” and the strategy of “social promotion of stigmatized territories and communities.”

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Section: Ua As Public Artmentioning

confidence: 99%

Section: Ua As Public Artmentioning

confidence: 99%

Section: Ua As Public Artmentioning

confidence: 99%

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Public Strategies for the Promotion of Urban Art: The Lisbon Metropolitan Area Case

Campos

Barbio

2021

City & Community

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“…Street art was born in a spirit of anti-capitalism and revolt, and has been seen by some as a nuisance and by others as an instrument for communicating dissent. Today, however, it seems to be losing its informal and revolutionary nature in order to become part of official programmes for urban regeneration, promoted both by local councils and by cultural bodies with aspirations to innovation, and is thus often rendered harmless and quietly reassuring (Abarca 2009; Bengtsen 2013; Bianchini 1993; Loeb 2014; Young 2014).…”

Section: Introductionmentioning

confidence: 99%

Beyond the wall: street art in the fight against the Camorra

Palermo

2017

Mod. Italy

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The attempt to halt the remorseless spread of organised crime in the Italian South should not just be an issue for the judges, investigating magistrates and forces of order; every citizen should feel that they are an integral part of a wind of change, coming from below, that can have a decisive impact on local society. Starting from this premise, art and culture, adopting an approach of participation and involvement, can play a primary role in processes of renewal. In various areas within the provinces of Naples and Caserta, carefully researched works of street art, with the direct involvement of the local population, have provided the means for intervention in decaying and marginal environments where organised crime seemed to be so well entrenched as to be ineradicable. This article presents four case studies, analysing their assumptions, methodology and objectives.

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“…Eine's graffiti is now deemed appropriate as a gift from a UK Prime Minister to a US President: a transformation from the street to the White House (Henley, 2010). This can also apply to differentiations made between street art and public art: the latter is sanctioned and commissioned, controlled and legitimated whilst the former is illegal, unconstrained in content, form and location (see Bengsten, 2013 and. The acceptance or accommodation of graffiti and street art can also have impacts on urban communities and neighbourhoods.…”

mentioning

confidence: 99%

The right to write the city: Lefebvre and graffiti

Zieleniec

2017

eue

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RésuméModern graffiti has become a universal urban phenomenon, an almost ubiquitous feature of towns and cities across the world. This paper will situate the practice and production of graffiti within various urban contexts (aesthetic, political, economic, social and semiotic) through the seminal works Henri Lefebvre as a means for analysing and understanding the complexity of the modern urban and to contextualize and explore graffiti's role in challenging and contesting the socio-spatial norms of increasingly privatized and commodified public and social space. That is, to read graffiti as a means for reclaiming and remaking the city as a more humane and just, social space.

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Beyond the Public Art Machine: A Critical Examination of Street Art as Public Art

Cited by 25 publications

References 0 publications

Public Strategies for the Promotion of Urban Art: The Lisbon Metropolitan Area Case

Public Strategies for the Promotion of Urban Art: The Lisbon Metropolitan Area Case

Beyond the wall: street art in the fight against the Camorra

The right to write the city: Lefebvre and graffiti

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