This document summarizes the Dublin Canvas street art project in Dublin, Ireland. It transformed 190 traffic light control boxes from graffiti-covered eyesores into outdoor art galleries by commissioning local artists to decorate them. Dublin Canvas has become a popular public art collection that beautifies the city and features works representing various themes like music, community, and surrealism. It began as a small experiment but has grown significantly, helping to make Dublin less grey and more vibrant through colorful and creative street-level art.
Graffiti used to have a negative connotation to it, but it actually is art. From Banksy to Sever to Lady Pink, there are world-renowned street artists who have left their stamp on the world.
Cities such as New York, Melbourne and Moscow boast some of the most extravagant street art murals. It has become a cultural phenomenon and here are our favorites.
Graffiti used to have a negative connotation to it, but it actually is art. From Banksy to Sever to Lady Pink, there are world-renowned street artists who have left their stamp on the world.
Cities such as New York, Melbourne and Moscow boast some of the most extravagant street art murals. It has become a cultural phenomenon and here are our favorites.
Here is a slideshow presentation of Street Art, with little discussion on its history, differentiation of kinds (e.g. Street Art, Mural Art, Graffiti, and Public Art), various movements, and function of street art. This is presentation is created in attempt to share information and educate people.
Here is a slideshow presentation of Street Art, with little discussion on its history, differentiation of kinds (e.g. Street Art, Mural Art, Graffiti, and Public Art), various movements, and function of street art. This is presentation is created in attempt to share information and educate people.
Christian Katzenbach
Institute for Media and Communication Studies
Freie Universität Berlin, Germany
Young European Researchers Seminar on New Media Studies
Institute of Journalism and Social Communication, University of Wroclaw
Wroclaw, November 17, 2009.
Icons by Melih Bilgil, http://www.picol.org/, under CC BY-SA
duThe language we use to describe news media landscape is inadequate
More and more news organisations exist for which we have no simple words
This model refers to the macro media landscape. Two axes. Plotting voice along the vertical axis and intent across the horizontal: the two elements we think determine how to identify or describe a news outlet in the media landscape
Macro voice
Attempting to plot determinates for news organisations based on how the voice changes from being packaged, edited, refined at the bottom to being a stream of conscious at the top. This is one of the most visible changes of the new media age – the range of voice used to communicate teh news is changing because the technology has given access to the non-professionally-trained and accredited news creators.
Macro intent
The second axis on macro is the horizontal axis which determines the intent the organisation (or in the case of branded individuals, the person) has. We recognised that even with the examples presented today, the intent they are acting as a news organisations plays a large part in determining their position in the media landscape.
The right-hand side of this axis represents the traditional western model of journalistic organisations as disinterested observers of, and commenters on, events of the day, what the Americans would call ‘objective’ journalism, and whose focus is on those things considered under ‘traditonal news values’. This includes both commercial and public actors; although state propaganda bodies are not specifically accounted for in this model, they would lie on the right because they tend to express their intent in such ways, and their content is within traditional news values even if their angle on the content is not objective or disinterested.
On the left of this axis are those organisations which use journalistic means and forms to further an agenda beyond simply observing, those that are ‘activist groups using the media’. It is important to note that the extremes of this axis are more ideals than realities – there is no such thing as the perfect objective and disinterested newsroom, and on the extreme left would be purely activist organisations, not really news organisations.
This axis does not represent a true change wrought by the age of the Internet, news organisations have always moved along this axis. Thomas Payne would have occupied a place on the left of this axis, and in fact, it is only in the mid twentieth-century that the right-hand side began to be populated. The Internet has, however, increased the range and scope of organisations on the left of the axis, and there are more, and more popular groups, there than previously, and the scope of their impact has increased.
we have also then designed a micro model which reflects the individual journalists and how they interact with source and output
without this model how can students or professionals understand the media lanscape...
Technological determinism and behaviour changejoinson
Slides from my talk at the ESRC Seminar Series on Behaviour Change (at UCL) - a short talk about technological determinism, how tools change the way we behave, and how technology can be designed to change people's behaviour.
Presentation for a guest lecture for a colleague's Media History and Contemporary Issues course. She wanted me to cover technological determinism and social constructivism, as well as through in some content about my research on multitasking and online reading.
The is a brief presentation on the central tenets of Bikjer and Pinch's theory on significant factors at play in forming, developing, adopting, and establishing sociotechnical objects.
This lecture looks at Determinism and Technological Determinism. This lecture is part of the Media and Cultural Theories module on the MSc and MA in Creative Technology and Creative Games at The University of Salford.
Lecture slides on McLuhan lecture for ARIN2600 Technocultures at the University of Sydney. This explores McLuhan's probing approach to media, which positions technology as an extension of human faculties. By implication, changes in media / technology change what it is to be human. McLuhan remains a controversial, but influential figure in media and new media studies.
Is a KAWS Celeb Sighting Cause for Speculation?Reverlavie
The ex-street artist turned art-world sensation receives a warm reception and an award from the Hirshhorn
On a steamy Friday afternoon before the annual Hirshhorn Ball, one of the world’s most popular visual artists received an award from one of the world’s most popular recording artists.
Is a KAWS Celeb Sighting Cause for Speculation?Reverlavie
Check out our new Kaws Bedding Set collection. These items are inspired by the latest designs on a cast of figurative characters and motifs that amazed all fans. A high-quality comforter set gives your bedroom a comfortable, and hypebeast look.
Why Is hand painted wall Considered Underrated?muralx
Oxford And artists Pupils Brighten Up Marston Underpass With New Mural
I've been painting murals that are commissioned that are large in and around Bristol. The community mural movement, which began from the late 1960's, generated countless hundreds of large scale wall paintings in less than a decade. Every city had a few, although they were concentrated in major cities. These were sparked by the civil rights movement, labour movements, the Chicano movement, and community development programs. Hispanic muralists like Diego Rivera, Clemente Orozco, David Sequeiros, and Arnold Belkin affected content and the style of those murals. They were influenced by graffiti and from advertising artwork.
3. What is street art?
• It an art form in its own right.
• This image above of a protester throwing a
bouquet of flowers is one of Banksy’s most iconic
works.
• ‘Anything on the wall that isn’t graffiti’
• Street art has become an integral element of
contemporary art.
4. Writing on the wall for capital: Dublin Canvas
About 50 of the city’s 190 traffic light boxes, once covered with
graffiti, are now suitable for framing.
Dublin Canvas is now actively seeking submissions of artwork
for an additional 85 boxes for the Summer of 2016 boxes.
5. ‘Box Blues’ by
Shalom
Chiaverini
The artwork by the Brazilian
street artist is based on the
blues, with portraits of
musicians Muddy Waters
and Ray Charles.
6. ‘R2’ by Morgan
The acclaimed artist’s pitch for the box was "It would just
look great, the boxes are like abandoned robots anyway."
7. Robert Emmet
and Sarah
Curran by
Hugh Madden
This piece shows the lovers
sending and receiving letters
which turns the traffic box into a
circle. The Front Panel has Robert
conspiring with his fellow
revolutionaries.
The Side Panels show
housekeeper Anne Devlin passing
the letters between them
8. Making the banal pretty
• Dublin Canvas began as a tiny experiment to
beautify the unsightly boxes that control traffic
signals around the city.
• It has become an unexpectedly impressive
public art collection, transforming drab
streetscapes into outdoor galleries
9. Dublin Canvas Gallery
• The sites are distributed between Baggot Street, Camden Steet and the Rathmines area.
• Multiculturalism by James O’Brien is located in Aran Quay
10. Muintir na
Cathrach by
Katie Lyons
“Sometimes it’s easy to go
about your day
without really seeing life
around us. This piece
celebrates the faces that
surround us daily and create
our city’s unique character.”
11. ‘Standpoint’ by Larissa Tamayoshi
This was based on the ‘lack of logic’ in the Surrealism
Movement.
12. ‘I’m sticking
with you’ Ruan
van Vliet
“Cities can sometimes be
stifling, claustrophobic
places so it’s important to
look out for one another and
lend a hand whenever it’s
needed.”
13. –Dave Murtagh, Project Co-Ordinator of Dublin Canvas
“Dublin Canvas is an idea, a project intended to
bring flashes of colour and creativity to
everyday
objects in the city.
Less grey, more play.”
14. ‘Música on the
Box'’ by
Shalom
Chiaverin
Images of Elvis Presley and
Dolly Parton were created
using a hand cut stencil
technique with a mosaic and
triangle pattern.
“This is for everybody who
have the music as a big part
of their lives.”
15. BatterBricks by Cathal McCoy
All four faces of the box reflect the old, familiar brickwork pattern representing the
diverse mix of young people living in the old, attractive ‘inner city suburb’ of
Stoneybatter.
17. Street Art Vs. Grafitti
• !Incorporates environment
• !Humour and social
commentary
• Public/private audience
• Goes over environment
• Self promotion
• Mostly spray paint on concrete
17
18. Perception of street art has
changed
• Two decades ago, it was regarded as little more
than vandalism.
• Now spray paint on a wall is seen as the catalyst
for a spate of regeneration, and even
gentrification, in different cities all over the world
19. Street artist Banksy spray-paints message on wall beside Regent's
canal in London
20. BANKSY
The identity of Banksy, a graffiti
artist who has risen to superstar
status over the past 20 years, is
still unknown to the general public.
21. Banksy's philosophy that art can exist outside of traditional
venues like museums, galleries, or displays in people's homes. It
can be found anywhere in our busy world.
22. Public opinion
Banksy's works sell for up to €500,000, though critics say
his, however skilfully executed, should be classed as
vandalism.
Fans include Brad Pitt and Angelina Jolie, who
commissioned a mural four years ago for their private
gallery at their estate in the south of France
24. ARTIST
Fin DAC
• Fun Lovin’ Criminals
• Frank & Walters
• Netflix Autographer’s
Behind the Scenes video
series
25.
26. Signature style
• His trademark work can be seen all over the
world from LA to Venice.
• Work outside the Kino cinema in Cork and an
arrangement of women faces on a outer wall of
the Gibson Hotel in Dublin
• Unlike Banksy, Fin doesn't use stencils but
instead does a quick sketch and then paints the
whole thing free hand - and we know who he is!
27. Political message
The striking depicts a maid who cleaned the artist's room in a motel in Los Angeles.
The piece, commissioned by Bono, intended to represent a metaphor for the west's
reluctance to tackle issues such as Aids in Africa.