The Lost Innocence of Street Art
Abstract
The article deals with street art, which the author considers to be the freest domain of artistic creativity. A graffiti artist asks no one for permission, he does what he wants, where he wants, and when he wants. But this freedom offends those who are afraid of any form of uncontrolled expression. Street art is powerful - it is visible, widely discussed, it reaches everyone, and so it is an object of struggle. In the context of thus defined street art Giżycki writes about two famous artists of this genre: the contemporary cult figure - Shepard Fairey and Italian artist called Blu. Some of their work was overtaken by various institutional discourses. Occasionally the work was a cause of a scandal, but was also used for various advertising, corporation and political aims. In conclusion, the author asks whether and to what degree is Polish street art involved in similar discourses.
Keywords:
street art, Shepard Fairey, Blu, graffitiReferences
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Authors
Marcin Giżyckikwartalnik.filmowy@ispan.pl
Rhode Island School of Design United States
Krytyk i historyk sztuki; autor książek z dziedziny historii filmu i zjawisk kultury artystycznej. Wykładowca w Rhode Island School of Design w USA. Opublikował m.in. Nie tylko Disney - rzecz o kinie animowanym (2000), Koniec i co dalej? (2001), Słownik kierunków, ruchów i kluczowych pojęć sztuki drugiej połowy XX wieku (2002), Wenders do domu! Europejskie filmy o Ameryce i ich recepcja w Stanach Zjednoczonych (2006).
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Copyright (c) 2011 Marcin Giżycki
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In issues from 105-106 (2019) to 119 (2022) all articles were published under the CC BY-NC-ND 4.0 licence. During this period the authors granted a royalty-free non-exclusive licence (CC BY-ND 4.0) to use their article in „Kwartalnik Filmowy”, retained full copyright, and agreed to identify the work as first having been published in our journal should it be published or used again.
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