viralart.vandalog.comViral Art

RJ Rushmore How the internet has shaped street art and graffiti From flick trading to zines to books to movies to the internet, examines how the histories of street art and graffiti have been shaped by communication technologies and why the future of street art and graffiti may lie in digital interventions. Read Download Book Description In , RJ Rushmore traces how the histories of street art and graffiti have been shaped by communication technologies, from meeting up at nightclubs to publishing books to sharing photos online. Conceptualizing the internet as a public space, Rushmore argues that the future of street art and graffiti may lie in digital interventions rather than physical ones. About RJ Rushmore RJ Rushmore is a 20-something student living outside of Philadelphia and attending Haverford College, where he works part time at the Cantor Fitzgerald Gallery. Outside of school, RJ is the founder and editor-in-chief of Vandalog. He first became obsessed with street art in 2008 while exploring the streets of East London with his father. Viral Read more » Table of Contents Still image, animation and video credits Some notes on the format of this book Acknowledgements Introduction Chapter 1: Communication from the 1960’s through 1999 Chapter 1: Communication from the 1960’s through 1999 On being a graffiti writer in the 1970’s The Soul Artists The Mudd Club and "Beyond Words" "Wild Style" "Subway Art" and other early published documentation of graffiti Stencils in Paris The education of James Jessop Shepard Fairey’s surprising beginnings Flick trading Zines and magazines Adam Void on zines Conclusion to chapter one Chapter 1.5: In conversation with Martha Cooper, Luna Park and RJ Rushmore Chapter 1.5: In conversation with Martha Cooper, Luna Park and RJ Rushmore Part two Chapter 2: Building and discovering the global track Chapter 2: Building and discovering the global track Audience and public in the digital age The early new systems And then came 2006 Rise of the hobbyist documentary photographer Continued growth on new digital platforms New platforms away from keyboard Conclusion on the structure of the new systems Existing in the new systems Logan Hicks and Stencil Revolution Shepard Fairey on going from the street to the internet Reaching beyond geographic boundaries Where are you based? Who cares? Tracing a style’s transition from local to global The internet gives Roa a boost Australians and their travels A closer look at Kid Zoom Gaia gets up in Baltimore Street art success through the internet Painting in spaces where fans rarely visit Roa: From abandoned factories to city centers JR amplifies voices The Underbelly Project Talking to the web Banksy painting for the media and the web A brief interview with C215 Some final thoughts on location Chapter 2.5: An interview with Brooklyn Street Art Chapter 2.5: An interview with Brooklyn Street Art Chapter 3: Styles for the global track Chapter 3: Styles for the global track Conceptual and abstract street art Op art Super ephemeral Buffable offenses Ad takeovers OX, ad takeovers and the internet Jordan Seiler’s megaphone An interview with Poster Boy Conclusion on ad takeovers Tape art and yarnbombing Install, document and dismantle Jeice2’s very ephemeral poster Intentionally temporary yarn bombs Staged photos by Elfo and The Wa The story of an artwork gone viral Performance Performing graffiti and street art Nug and Pike’s videos KATSU’s videos Brad Downey and Akay’s videos Performing as Maismenos The Astoria Scum River Bridge SWEATSHOPPE’s videos Conclusion on super ephemeral art Incomplete on the street Activated on your screen Bumblebeelovesyou’s physical/digital comic Multi-photo pieces Street animations GIFs Manifestos Invisible pieces Manipulated photography Conclusion on street art and graffiti designed for the global track But maybe the internet isn’t so great Cheating Rise of the gatekeepers Do-it-for-the-photo street art The death of local styles A subpar experience Different responses to the same work, online and on the street Conclusion on traditional street art and graffiti online Chapter 3.5: An interview with KATSU Chapter 3.5: An interview with KATSU Chapter 4: Organic and invasive viral art Chapter 4: Organic and Invasive Traditional internet art A few examples Organic viral art Digital Faile Evan Roth, floating between worlds General Howe, from pavement to pixels John Fekner finds a new public space Public internet art KATSU getting up in digital space Conclusion on organic viral art by street artists and graffiti writers Viral art by non-street artists/graffiti writers GIF artists Memes Conclusion on organic viral art Invasive Evan and Franco Mattes aka 0100101110101101.org The World’s Most Exclusive Website Saber’s Twitter graffiti Matt Troy: Spammer and/or artist Art in your spam folder John Fekner in the digital ether Google bombs Lepos invades on all fronts SimCopter’s easter egg Defacing websites as a form of graffiti Conclusion on invasive viral art In closing Tip Jar About RJ Rushmore Bibliography Copyright Book Name: Author RJ Rushmore Publication Date December 16, 2013 Ebook ISBN 978-0-9912795-0-0 Keywords/Tags internet art, internet, social media, public space, graffiti art, viral art, art, street art, graffiti Hashtag #viralart Copyright : How the internet has shaped street art and graffiti by RJ Rushmore is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License except where otherwise noted on the credits page . The material listed on the credits page is copyright its respective copyright holders and its licensing is listed on the credits page . For permissions beyond the scope of this license, email rj at vandalog.com. For permissions beyond the scope of the licenses pertaining to the third party content listed on the credits page , contact the appropriate copyright holders. PressBooks.com: Simple Book...