Publication
Street (M)Ar(Ke)T : how an aesthetic practice has become a marketable product
| datacite.subject.fos | Ciências Sociais::Sociologia | pt_PT |
| dc.contributor.advisor | Silva, Ana Luísa dos Santos Diniz da | |
| dc.contributor.author | Serafino, Paola | |
| dc.date.accessioned | 2021-06-01T15:26:59Z | |
| dc.date.available | 2021-06-01T15:26:59Z | |
| dc.date.issued | 2021-01-11 | |
| dc.date.submitted | 2020 | |
| dc.description.abstract | The removal of street artworks from urban walls, their restoration, and their (re)contexualisation into institutional and regulated frames, such as art museums and galleries, as well as the decision to sell them to the highest bidder, are aspects that not only raise moral and legal issues, but also seem to deprive street art of those peculiarities that make it different from other artistic expressions produced to be inside artistic institutions or private (either institutional or non-institutional) spaces. This study aims at shedding light on the effects of the museumification and institutionalization of street art, on the pro and cons of regulating a phenomenon born “to challenge and call into question dominant uses of public spaces in contemporary global metropolises” (Baldini, 2018:29). Art dealers, city inhabitants, artists, curators’ viewpoints are here critically analysed to try to understand how the ways to approach street art have changed over the last two decades as well as to find out if street artists’ self-claimed purpose of making a gift to city dwellers to make them feel part of the city life (Young, 2014) is still alive. Indeed, as Young claims after interviewing several street artists such as Pure Evil, Kaff-eine, CDH and many more: “Street art is often motivated by generosity: the artist seek to make a gift of the artwork to the spectator, the neighbourhood and the city itself” (2014:27). A gift that according to Waclawek, often comes from artists’ wish to “create a space for reflection and observation in otherwise utilitarian streets and to motivate people to reconsider their environments” (2011:76). This inquiry seeks to bring out under what circumstances and to what extent the logic of profit has taken over the idea of accessible gift in the street art world. | pt_PT |
| dc.identifier.tid | 202723852 | pt_PT |
| dc.identifier.uri | http://hdl.handle.net/10400.14/33408 | |
| dc.language.iso | eng | pt_PT |
| dc.subject | Street art | pt_PT |
| dc.subject | Museumification | pt_PT |
| dc.subject | Urban context | pt_PT |
| dc.subject | Public space | pt_PT |
| dc.subject | Visuality | pt_PT |
| dc.subject | Art market | pt_PT |
| dc.title | Street (M)Ar(Ke)T : how an aesthetic practice has become a marketable product | pt_PT |
| dc.type | master thesis | |
| dspace.entity.type | Publication | |
| rcaap.rights | openAccess | pt_PT |
| rcaap.type | masterThesis | pt_PT |
| thesis.degree.name | Mestrado em Estudos de Cultura | pt_PT |
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