Los invitados a discutir son:
Michael de Feo, también conocido como "Flower Guy".
Patrick, que forma parte del conocido grupo de diseño y de arte callejero Faile.
Swoon, artista callejero contemporaneo que trabaja principalmente con esténciles y papel en la Ciudad de Nueva York.
Dan Witz, artista callejero desde 1970.
Wooster Collective, dirigido por Marc and Sarah, es una organización que registra arte callejero alrededor del mundo.
By night and by day, invisible hands are laying claim to the walls of New York City. They work quickly and are gone before anyone notices. What they leave behind is art, if not, a message. The prints, stencils, stickers, and other objects await discovery by a passing pedestrian—perhaps a woman walking a dog, perhaps a sales clerk on his way to night school—but unlike nearly everything else that decorates our public space, these communications are not hawking the latest shoes or the newest low-carb beer. Street art is many things. It is a resistance against the notion that only paid-for corporate advertising can take hold in our visual commons; the monopoly is to be broken. Street art appears underneath and along side of sanctioned billboards, sometimes replacing them. Other times, it appears on bare walls far from most people’s gaze. It is public playfulness. It is a gift, a knowing nod, to those who notice.
Street art is frequently confused with graffiti, but street artists often use formal art techniques—printmaking, silk-screening, even sculpting—in contrast to the immediate, almost painterly methods of spray-can-wielding graffiti artists. In this way, street art has survived and proliferated in the face of police crackdowns. It has adopted the propagative mechanisms of print and advertising culture to remain elusive, widespread, and relevant, all at the same time.
More than just surviving, the movement has entered global popular culture. More and more people now participate in street art, not just in New York, but in places like London, Berlin, Tokyo, and Rio de Janeiro. There are magazines and art galleries devoted to street art. Even some large corporations have noticed and are looking at using street art as a way to reach young and design-conscious consumers.
This roundtable interview gathers a few of the people involved in the scene to talk more about the past, present, and future of street art.
Street art is frequently confused with graffiti, but street artists often use formal art techniques—printmaking, silk-screening, even sculpting—in contrast to the immediate, almost painterly methods of spray-can-wielding graffiti artists. In this way, street art has survived and proliferated in the face of police crackdowns. It has adopted the propagative mechanisms of print and advertising culture to remain elusive, widespread, and relevant, all at the same time.
More than just surviving, the movement has entered global popular culture. More and more people now participate in street art, not just in New York, but in places like London, Berlin, Tokyo, and Rio de Janeiro. There are magazines and art galleries devoted to street art. Even some large corporations have noticed and are looking at using street art as a way to reach young and design-conscious consumers.
This roundtable interview gathers a few of the people involved in the scene to talk more about the past, present, and future of street art.
Si quieres leer lo que se dijo en la mesa redonda sigue este link:
http://www.themorningnews.org/archives/personalities/roundtable_street_art.php
Más sobre los invitados:
medefeo.com
faile.net
TMN profile
danwitzstreetart.com
woostercollective.com
Las fotos publicadas aqui son del artículo de The Morning News.
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