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Pochoir --- Art dans la rue --- Art et politique --- Graffiti --- Aspect social. --- 75.05 --- 7.098 --- Graffiti-kunst ; sjablonen --- Schilderkunst ; graffiti en straatgrafiek --- Urban Art --- Street Art --- Schilderkunst ; graffitti, metro-kunst --- Kunst in openbare ruimte ; omgevingskunst, graffiti

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This book answers one of the most puzzling questions in contemporary art: how did performance artists of the '60s and '70s, famous for their opposition both to lasting art and the political establishment, become the foremost monument builders of the '80s, '90s and today? Not by selling out, nor by making self-undermining monuments. This book argues that the centrality of performance to monuments and indeed public art in general rests not on its ephemerality or anti-authoritarian rhetoric, but on its power to build interpersonal bonds both personal and social. Specifically, the survival of body art in photographs that cross time and space to meet new audiences makes it literally into a monument. The argument of the book spans art in Austria, the former Yugoslavia, and Germany: Valie Export, Peter Weibel and the Viennese Actionists (working in Austria and abroad), Marina Abramovic, Sanja Ivecovic and Braco Dimitrijevic (working in Yugoslavia and abroad), and Joseph Beuys and Jochen Gerz (working in Germany and abroad). These artists began by critiquing monumentality in authoritarian public space, and expanded the models developed on the streets of Vienna, Munich, Rome, Belgrade and Zagreb to participatory monuments that delegate political authority to the audience. Readers interested in contemporary art, politics, photography and performance will find in this book new facts and arguments for their interconnection.

politics --- performance art --- public art --- sociology --- public spaces --- monuments --- street art --- Art --- community art --- anno 1900-1999 --- anno 2000-2099 --- Performance art. --- Performance art --- Public art. --- Public art --- Monuments. --- History. --- Political aspects. --- political art --- Performance artists --- 7.038 --- 7.098 --- Artists --- Arts, Modern --- Happenings (Art) --- Performing arts --- Kunstgeschiedenis ; 1950 - 2000 --- Kunst in openbare ruimte ; omgevingskunst, graffiti --- art interventions

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Chateau La Coste, near Aix-en-Provence, is a unique property that combines sculptural artworks by leading contemporary artists alongside works by some of the world's best-known architects, all within the grounds of a working organic vineyard. Since 2004 the estate, which occupies an ancient site, has been transformed into an exceptional plein-air museum, and the number of installations grows every year. 0The spreading collection lies within the walk of a spectacular Art Centre, designed by the world-renowned Japanese architect Tadao Ando. On the reflecting pool in front of the building is one of Louise Bourgeois' giant arachnoid sculptures, Crouching Spider. To the north lies a futuristic winery by Jean Nouvel. By taking one of several routes to the south or west, the visitor encounters such monumental installations as Sean Scully's sculpture of stacked blocks of limestone, Wall of Light Cubed; Richard Serra's steel sheets, AIX; and Oak Room by Andy Goldsworthy, a cave of interwoven oak branches, integrated into an old stone wall. Installations by Liam Gillick, Kengo Kuma, Paul Matisse, Sophie Calle and many others punctuate the pathways. And by an ancient Roman route, Ai Weiwei has created another new path up the hillside, using paving stones salvaged from the renovated port at Marseilles. Overlooking the site is a 16th-century chapel restored by Ando and enclosed by a framework of steel and glass.

Site-specific installations (Art) --- Architecture --- 7.074 --- Kunstcollecties ; Frankrijk ; wijndomein La Coste --- Kunst en architectuur in open lucht --- Kunst en architectuur ; parcours langs de wijngaarden --- Installations (Art) --- Site-specific art --- Architecture, Western (Western countries) --- Building design --- Buildings --- Construction --- Western architecture (Western countries) --- Art --- Building --- Kunstverzamelaars --- Design and construction --- Architectuur ; Frankrijk --- Geschiedenis --- Kunst --- Landart --- 7.098 --- Kunst in openbare en private ruimte ; omgevingskunst --- Architecture, Primitive

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sculpting --- Sculpture --- public art --- commissions [orders for works] --- Architecture --- architecture [discipline] --- anno 1900-1999 --- Belgium --- Administration publique --- Art --- Kunst --- Overheidsbeleid --- Public art --- Art, Municipal --- Art public --- Art urbain --- Handbooks, manuals, etc. --- Guides, manuels, etc. --- #A9705A --- Kunst ; in en op openbare plaatsen ; gidsen --- Koning Boudewijnstichting ; uitgaven --- 7.098 --- Kunst in openbare ruimte ; omgevingskunst, graffiti --- Conception architecturale --- Création artistique --- Espace public --- Intégration au site --- Intégration au site architectural --- Intégration plastique au cadre bâti --- Intégration urbaine --- Législation --- Législation de l'urbanisme --- Législation immobilière --- Législation sociale --- Belgique

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"Getting Up" is the term used by graffiti "artists" to describe their success in making their mark on the New York subway system. In this book, Craig Castleman does not judge the artistic merit or social significance of graffiti. His aim is to trace the growth of this social hap- pening and to give an inside report on the lives and activities of the thousands of New York teenagers who, singly and in groups, spend night after night sneaking into trainyards and tunnels to do their writing and painting, often with stolen materials. Armed with his tape recorder, Castleman gained the confidence of hundreds of these teenagers as he interviewed them in subway stations, police precinct houses, street corners, pizza shops and other hangouts, and in their own homes. The (street talk not deleted) remarks of BAMA, WICKED GARY, LEE, CARMEN, and the others are the heart of the book, along with the nearly fifty photographs, some in color, that illus- trate their styles. Getting Up also presents the other side, the views of transit po- lice (a colorful lot themselves) and public officials drawn from inter- views, reports, documents, and ar- ticles. As in all "art movements," a few creative innovators are sur- rounded by a lot of uninspired imitators (like the "toys"-beginners armed with Magic Markers), but to the city and transit authority, all graffiti is nothing but vandalism and pollution, and they have spent more than one hundred million dol- lars in an unceasing and unsuccessful effort to eradicate all traces of it.

Graffiti --- New York City --- Drawing --- Sociology of culture --- New York --- New York (N.Y.) --- Social life and customs --- Graffiti - New York (N.Y.) --- New York (N.Y.) - Social life and customs. --- Schilderkunst ; graffiti en straatgrafiek ; New York --- Schilderkunst ; graffiti ; New York ; in de metro --- Graffiti; Metro New York; Verenigde Staten --- Street Art --- 7.098 --- 75.05 --- Kunst in openbare ruimte ; omgevingskunst, graffiti --- Schilderkunst ; graffiti, metro-kunst --- New York City [New York]