Urban Art far beyond counterculture

Detalhes bibliográficos
Autor(a) principal: Augusto, Larissa
Data de Publicação: 2020
Tipo de documento: Artigo
Idioma: eng
Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
Texto Completo: https://doi.org/10.48619/cap.v1i1.209
Resumo: Urban art emerged as a counterculture movement based on social, political and economic criticism. To shape these criticisms, interventions are made around city centers and peripheries, in the most unusual places, such as bridges, sewers, abandoned places, train stations, house walls and top of buildings. Because it is done on the streets, the intervention suffers from the weather and can be changed and even covered by another artist. The artist, in turn, risks being arrested and having his art labeled as vandalism, as such art happens in non-legalized places. And so street art is defined as an ephemeral work, accessible to all people and only possible to be registered by photography.
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spelling Urban Art far beyond countercultureUrban art emerged as a counterculture movement based on social, political and economic criticism. To shape these criticisms, interventions are made around city centers and peripheries, in the most unusual places, such as bridges, sewers, abandoned places, train stations, house walls and top of buildings. Because it is done on the streets, the intervention suffers from the weather and can be changed and even covered by another artist. The artist, in turn, risks being arrested and having his art labeled as vandalism, as such art happens in non-legalized places. And so street art is defined as an ephemeral work, accessible to all people and only possible to be registered by photography.Urbancreativity.org2020-02-11T00:00:00Zinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfhttps://doi.org/10.48619/cap.v1i1.209oai:journals.ap2.pt:article/209CAP - Public Art Journal; Vol 1 No 1 (2019): Memory in Public Art; 44 - 51Cadernos de Arte Pública; v. 1 n. 1 (2019): Memoria e Arte Pública; 44 - 51CAP - Cadernos de Arte Pública / Public Art Journal; v. 1 n. 1 (2019): Memoria e Arte Pública; 44 - 512184-6197reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAPenghttps://journals.ap2.pt/index.php/CAP/article/view/209https://doi.org/10.48619/cap.v1i1.209https://journals.ap2.pt/index.php/CAP/article/view/209/117Copyright (c) 2020 CAP - Cadernos de Arte Pública / Public Art Journalinfo:eu-repo/semantics/openAccessAugusto, Larissa2022-09-20T11:04:25Zoai:journals.ap2.pt:article/209Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-19T15:48:58.719338Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse
dc.title.none.fl_str_mv Urban Art far beyond counterculture
title Urban Art far beyond counterculture
spellingShingle Urban Art far beyond counterculture
Augusto, Larissa
title_short Urban Art far beyond counterculture
title_full Urban Art far beyond counterculture
title_fullStr Urban Art far beyond counterculture
title_full_unstemmed Urban Art far beyond counterculture
title_sort Urban Art far beyond counterculture
author Augusto, Larissa
author_facet Augusto, Larissa
author_role author
dc.contributor.author.fl_str_mv Augusto, Larissa
description Urban art emerged as a counterculture movement based on social, political and economic criticism. To shape these criticisms, interventions are made around city centers and peripheries, in the most unusual places, such as bridges, sewers, abandoned places, train stations, house walls and top of buildings. Because it is done on the streets, the intervention suffers from the weather and can be changed and even covered by another artist. The artist, in turn, risks being arrested and having his art labeled as vandalism, as such art happens in non-legalized places. And so street art is defined as an ephemeral work, accessible to all people and only possible to be registered by photography.
publishDate 2020
dc.date.none.fl_str_mv 2020-02-11T00:00:00Z
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dc.identifier.uri.fl_str_mv https://doi.org/10.48619/cap.v1i1.209
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url https://doi.org/10.48619/cap.v1i1.209
identifier_str_mv oai:journals.ap2.pt:article/209
dc.language.iso.fl_str_mv eng
language eng
dc.relation.none.fl_str_mv https://journals.ap2.pt/index.php/CAP/article/view/209
https://doi.org/10.48619/cap.v1i1.209
https://journals.ap2.pt/index.php/CAP/article/view/209/117
dc.rights.driver.fl_str_mv Copyright (c) 2020 CAP - Cadernos de Arte Pública / Public Art Journal
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2020 CAP - Cadernos de Arte Pública / Public Art Journal
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dc.publisher.none.fl_str_mv Urbancreativity.org
publisher.none.fl_str_mv Urbancreativity.org
dc.source.none.fl_str_mv CAP - Public Art Journal; Vol 1 No 1 (2019): Memory in Public Art; 44 - 51
Cadernos de Arte Pública; v. 1 n. 1 (2019): Memoria e Arte Pública; 44 - 51
CAP - Cadernos de Arte Pública / Public Art Journal; v. 1 n. 1 (2019): Memoria e Arte Pública; 44 - 51
2184-6197
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repository.name.fl_str_mv Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação
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