mini anotated bib

Annotated Bibliography

Davey, Barney. “The Double Entendre of the Visual Arts: Selling Out Redux. Davey Barney, 10 Jul. 2011. Web. 11 Nov. 2012. This blogger is in the business of helping artists sell their work through Giclee Prints.  Barney does have some interesting things to say regarding the issues of artists being called sell-outs because they want to make money.  Two of my favorite quotes included, “Lately, I have been advising artists to get on one side or the other and make peace with their decision and then get on with robustly pursuing their marketing plans whatever they choose,” and “In thinking about this idea, it struck me as odd that “selling out” in the sense of following the money when creating art is a huge no-no for artists, yet having a “sold out” edition, or “selling out” an edition was something to strive for.”

Fuchs, Christian. “Street Art Sell Out: Guerilla Advertising Masquerading as Graffiti.” Spiegel International, 10 Dec. 2008. Print,Web. 10 Nov. 2012. out-guerilla-advertising-masquerades-as-graffiti-a-595692.html.

This article from Spiegel International was written in 2008 showing how companies are poaching graffiti artists in order to sell products to a younger generation.  It gives several examples how these companies try to come off as “authentic.”  It further elaborates on how these conglomerate companies are destroying subcultures. I had might want to use the reference about how the word “shit” was written over many of Ogo’s figures out of disdain within the street art community.

Irvine, Martin. “Communication, Culture, and Technology.” “The Postmodern” “Postmodernism” “Postmodernity”: Approaches to Po-Mo, Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License, Jan. 2006. Web. 10 Nov. 2012.

Two quotes from this that I would like to use to describe the art movements in accordance with graffiti and street art are, “Modernism/Modernity” and “Postmodernism” are all caught up in a web of discourses with assumptions and ideologies that need a self-reflexive technique…,” and “The new debate on “post-postmodernism” has opened up.  There is a sense in many areas of cultural practice and university research that many of the issues in postmodernism are over or assumed and we are now in a different global movement…”

Jameson, Fredric. Postmodernism, or, The Cultural Logic of Late Capitalism. Media and cultural studies key works. Ed. Meenakshi Giri Durham and Douglas M. Kellner. UK: Blackwell publishing, 2001. 550 -587.  Print, Web. 10 Nov. 2012.

This American philosopher identified himself as a Marxist and had views of postmodernism “not as a style but rather a cultural dominant: a conception which allows for the presence and coexistence of a range of very different, yet subordinate features.  This man was way ahead of his time and was viewed by some as a master in communications.  I also believe he very clearly describes how a discourse changes when, “As for the postmodern revolt against all that, however, it must equally be stressed that its own offensive features – from obscurity and sexually explicit material to psychological squalor and overt expressions of social and political defiance, which transcend anything that might have been imagined at the most extreme moments of high modernism – no longer scandalize anyone and are not only received with the greatest complacency but have themselves become institutionalized and are at one with the official or public culture of Western society.”

Kataras, Alex.  “Advertising, Propaganda, and Graffiti Art.” Masters’ Thesis MA Communication Design, 2006. Web. 10 Nov. 2012.

Two quotes of interest include: I argue it is no coincidence graffiti was spawned in New York as it is a city inundated with the media, and as such its population is subject to a different set of values and realities than say, Kansas City, a more rural and agricultural city…,” and “Paradoxically, graffiti, which prides itself in being one of the only true subcultures in so much as its practitioners are in it not for the money but for the fame, could in fact be, a direct result rather than a by-product of advertising, the glaring antithesis to notions of purity and altruism.”

Kirby, Alan. “The Death of Postmodernism And Beyond.” Philosophy Now. Sept./Oct. 2012. Web. 10 Nov. 2012. Explanations of art movements that are leading towards a culture that has no memory.

This article contains several different sociological theories of importance relevant to this research project.  “Let me explain. Postmodernism conceived of contemporary culture as a spectacle before which the individual sat powerless, and within which questions of the real were problematized. It therefore emphasized the television or the cinema screen. Its successor, which I will call pseudo-modernism, makes the individual’s action the necessary condition of the cultural product.” “This pseudo-modern world, so frightening and seemingly uncontrollable, inevitably feeds a desire to return to the infantile playing with toys which also characterises the pseudo-modern cultural world. Here, the typical emotional state, radically superseding the hyper-consciousness of irony, is the trance – the state of being swallowed up by your activity. In place of the neurosis of modernism and the narcissism of postmodernism, pseudo-modernism takes the world away, by creating a new weightless nowhere of silent autism”

Loos, Ted.  “ART; Grafitti by the (Extensively Analyzed) Numbers.” The New York Times. June 25, 2006. Web.                   This article is a summary of John Matos’ art career. His development as an artist spray painting on train cars then to canvas, Matos rarely ever “tagged” his name but was known as a graffiti artist.

McNichols, Jeremiah.  “Visualizing Dissent: Graffiti As Art” July 26, 2006. Web.

“In the words of Ilse Scheepers, “Although the general public criticizes graffiti for contributing to the ‘ugliness’ of an area, graffiti writers as a rule do not write for the public as an audience. They write for themselves, and other writers, engaging in a dialogue with others who they may have never met, who inhabit the same city or visit the same areas.” This article describes the many motivations behind the actions of graffiti artists.  It also explains the transition between “tagging” and wanting to send messages to the public through art.”

Muchnic, Suzanne. “Conference on the Arts Tackles Censorship: Freedom of expression in the spotlight at New York gathering of academics.” Los Angeles Times, 17 Feb. 1990. Print,Web. 30 Nov. 2012.

Even though this article was written over twenty years ago I believe it has just as much importance today.  The art community got together and held a conference trying to come up with ways visual artists’ voices would continue to be heard.

Piras, Maxamillian. “Graffiti artists make anonymity trendy in the art world.” Daily 49er, 10 Nov. 2010. Updated 12 Jul. 2012. Print,Web. 30 Nov. 2012.

Written by a senior art major, the importance of anonymity with a graphic artist is discussed.  This article discusses how anonymity is part of a new way to showcase art.  Having an alter ego of sorts is part of an artists’ identifying feature.

Rushmore, RJ. “Street art and advertising.” Vandalog. 16 Aug. 2019. Web. 11 Nov. 2012. This blog talks about how there is a fine line between advertising and street art.  This article helps to reaffirm that are social standards within the discourse community.  Usually it’s a given that one will not tear down someone else’s work, but in some cases it is almost a necessity.  Good example of Madonna CD being “pushed” on the street.

Shavivo, Steven. “How to Sell Out: The Webby Awards.” The Stranger. Index Newspapers, LLC.  25-31 May 2000. Web. 5 Nov. 2012.

Shavivo gives an awesome rendition of what it is like to become dulled by everyone appearing “different.”  His first hand experience shows an understanding of how things can change over a short amount of time.

St Clair, R, and A Phipps. “Ludic literacies at the intersections of cultures: an interview with James Paul Gee.” Language and Intercultural Communication 8.2 (2008) : 91.

Borghini, Stefania, et al. “Symbiotic Postures of Commercial Advertising and Street Art: Rhetoric for Creativity” Journal of Advertising 39.3 (2010): 113-126. Web. 30 Oct. 2010.

This is a journal article written by the commercial advertising industry giving details of how to use street art as their new form of communication.  This in depth entry shows the many similarities of rhetoric between art and advertising.   It states that social context has much to do with how they are perceived. The advertising industry has probably put more research into street art than street artists have themselves.  This is a very “how to” document.

Vermelen, Timotheus and vanden Akker, Robin. “Notes on Metamodernism.” Journal of Aesthetics and Culture. Web. 5 Nov. 2012. 10.3402/jac.v2io.5677. Written by a teaching fellow and a doctoral candidate, this essay helps explain that not only that postmodernism is dead but what it has also become.  Defining quotations include: “The threefold ‘‘threat’’ of the credit crunch, a collapsed center, and climate change has the opposite effect, as it infuses doubt, inspires reflection, and incites a move forward out of the postmodern and into the metamodern,” and “ Inspired by a modern naı¨vete´ yet informed by postmodern skepticism the metamodern discourse consciously commits itself to an impossible possibility.”


Weisberg, Jill. “ The Difference Between Street Art and Graffiti.” Web. 8 Nov. 2012.

This is an outstanding article comparing the differences between graffiti artists and street artists.  It gives examples of three street artists in particular and the mediums they use to express themselves.  This article also gives a history/background of how graffiti was the beginning stage of street art.  This article also puts much focus on communication between graffiti writers and street artists as well as their connection or lack of connection to the public.

Wigglesworth, Alex. ‘Pulling the outside in’: Street art goes gallery with ‘Furnessadelphia’ exhibition. Metro.  7 Oct. 2012. Print, Web. 5 Nov. 2012.–pulling-the-outside-in-street-art-goes-gallery-with-furnessadelphia-exhibition

Wigglesworth hopes to portray that street art is not like graffiti because graffiti tends to make people feel nervous.  This is an exhibition commemorating Frank Furness’ architecture because of the inspiration it gave to other artists.  There is some irony as Furness’ works and attitudes portrayed the embodiment of creating art for the sake of creating art-not getting somebody else’s approval.

Wolf, Kate.  “What is Street Art?” ArtSlant. April 25, 2011. Web.

This is an article talking about the irony of the art exhibit entitled Street Art.  The idea that you can take something as big and versatile as street art and put it inside a museum is laughable for many street artists.  The author agreed that there was some value to giving street art a sense of history, but to put a price tag on it inside a museum center would be laughable and a misunderstanding of the art.

“What is street art? Top 5 street artists in the art world- Part II.” Art Radar Asia: Contemporary art trends and news from Asia and beyond. March 10, 2010.

This website gives a short history of how modern graffiti has turned into the art form of street art.  In addition it also makes note of how graffiti artists were more concerned with their name being on top as compared to street artists who can be more concerned with financial gain. “Although the graffiti art community may seem unstructured, it adheres to a strict hierarchy among its writers. The most visible or skilled artists are known as ‘kings’, and iconography of crowns within their work is a reference to the writer’s status. Lesser artists can only gain status by impressing a ‘king’.”  This website also gives a short history on who they believe to be the current top five street artists and why.

Zevallos, Zuleyka Dr. “Street art and distinction in Kabul, Afghanistan.” Dr. Zuleyka Zevallos. 25 Feb. 2012. Web. 30 Oct. 2012.

This sociologist provides blog material about analyzing issues concerning internationality and media.  This particular entry informs that art forms can reflect historical class positions.  He also claims in hope that street art may become part of a new art discourse in Afghanistan.


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