Related Papers
Artlink
GRAFFITIDOWNUNDERGROUND: An Introduction to Australian Graffiti
2014 •
Lachlan J MacDowall
Artist, cultural researcher and Head of the Centre for Cultural Partnerships at the University of Melbourne Dr Lachlan MacDowall writes about the origins of contemporary graffiti, its development in Australia and how we define it - as intervention in public space, as an art practice or a problem.
Journal of Urban Design
Placing Graffiti: Creating and Contesting Character in Inner-city Melbourne
2012 •
Kim Dovey
Wogs, skips and icons: designing a cultural identity, All Australian Graffiti, A Vision Unfurled: design and the politics of cultural identity
2005 •
Denise Whitehouse
Investigating the aesthetic character of Australian urban Indigenous art: a socio-political fusion
2018 •
Nerina Dunt
v Statement of Originality and Consent vii Acknowledgments viii Note xiv List of Abbreviations xv List of Figures xv
Stencil-Graffiti Capital: A Brief Overview of The Commodification of Street Art In Melbourne
Ainara Martinez-Miranda
It is becoming increasingly normal for sub-cultural activities to be absorbed, commodified, and disseminated amongst the public through the mass-media and commercialisation. This process is called "Cultural Recuperation": a practice wherein radical ideas, practices, and social revolts are attempted to be neutralised, by absorbing them to be defused, into commercial space. This essay will broadly outline how the title Melbourne holds as a "Stencil Graffiti Capital" indefinitely reflects an acceleration towards the subcultural practice of stencil graffiti art, and Melbourne's street art in general, being in great part commodified and accepted. I will support this argument in two ways: firstly delineating how the stencil graffiti art subculture has transitioned from hiding in the shadows into being indoctrinated into mainstream culture through participation in publicly-sanctioned, successful commercial events. Secondly, by examining how the nature of government attitudes towards graffiti artists has changed from pure animosity to being more contradictory and uncertain: as a result of a desire for the economy to profit from such a subculture.
Public Art Dialogue
Avramidis, Konstantinos, and Myrto Tsilimpounidi, eds. Graffiti and Street Art: Reading, Writing and Representing the City
2018 •
Adam Evans
Contemporary Aboriginal art and the cultural landscapes of urban Australia
2014 •
Stephen Loo
Place identity in Australia is currently in a state of flux, owing to the decentralization of cultural landscapes through urbanization. Indigenous caring for landscape has always been associated with the originary condition of Australian wilderness. This paper argues that an understanding of place identity in Australia can arrive from a reassessment of national cultural landscapes, both wild and urban, when we take seriously the imbrications of colonial and Indigenous landscape practices. It does this through an investigation of contemporary Indigenous art, focusing in particular on the work of artist Michael Jagamara Nelson. His work allowed Indigenous art to become recognized as significant in regards to place identity, referencing the alternate cultural markings within the landscape. The argument also draws on Bill Gammage's observation that Australian wilderness landscapes are not 'pristine' but have already been manipulated by Indigenous people for many millennia, h...
Public Art Dialogue 4(2)
Public Art Dialogue Empty-Nursery Blue: On Atmosphere, Meaning and Methodology in Melbourne Street Art
2014 •
Shanti Sumartojo
Empty-Nursery Blue was a fine art project in a street art context created by artist Adrian Doyle in Melbourne's Rutledge Lane in late August 2013. It was part of a set of curated works that aimed to explore how public art might affect place and its users, and thereby influence perceptions of public safety. The aim of this article is two-fold: first, we engage with scholarship on atmosphere and discuss visitors' reactions to the artwork, including their descriptions of it as “immersive,” “wondrous” or “destructive.” We argue that the immersive quality of the site's built environment and the project's “urgent ephemerality” generated embodied reactions that helped challenge perceptions of the laneway space. Second, we use this focus on embodiment and experience to explore the potential of public art practice as a methodology to address social issues concerning the relationships between people and their built environments. In the case of Empty-Nursery Blue, this meant creating a spectacle and then using it to engage the expansive community of Rutledge Lane.
Battlefield or gallery? A comparative analysis of contemporary mark-making practices in Sydney, Australia
Ursula K. Frederick
City
More to see than a canvas in a white cube: For an art in the streets
2010 •
Joe Austin
