BibTex RIS Kaynak Göster
Yıl 2017, Cilt: 2 Sayı: 2, 37 - 47, 01.04.2017

Öz

Kaynakça

  • Akagawa, N., and Smith, L. eds., 2009. Intangible Heritage. London and New York: Routledge.
  • Arvidsson, A., 2006. Brand: Meaning and value in media culture. London: Routledge.
  • Arvidsson, A., 2008. The Ethical economy of consumer coproduction’. Journal of Macromarketing, [e- journal], 28(4), pp 326 – 338. http://dx.doi.org/10.1177/0276146708326077
  • Berríos, M. and Machuca, G. 2006. Art and Context: Three Decades of Aesthetic Production in Chile. In
  • G. Mosquera, ed. 1980. Copiar el Eden: Arte Reciente en Chile/Copying Eden: Recent Art from Chile.
  • Santiago: Ediciones Puro Chile. pp. 84 – 101. Brett, G., 1989. A Radical Leap. In Art in Latin America, The Modern Era, 1820-1980 (exhibition catalogue). London: Hayward Gallery.
  • Brett, G., 1990. Border Crossings. In Transcontinental: Nine Latin American Artists (exhibition catalogue). Birmingham: Ikon.
  • Burdick, C. and Canessa Vicencio, F., 2015. “Popular demands do not fit in ballot boxes”: graffiti as intangible heritage at the Iglesia de San Francisco, Santiago? International Journal of Heritage Studies, e-journal], 21(8), pp. 735 - 756. http://dx.doi.org/10.1080/13527258.2015.1028963.
  • Castillo Espinoza, E., 2006. Puño y Letra: Movimiento Social y Comunicación Gráfica en Chile. Santiago
  • Ocho Libros Editores. Castillo Fernández, S., 2014. El río Mapocho y sus riberas: espacio pşblico e intervención urbana en
  • Santiago de Chile (1885-1918). Santiago: Ediciones Universidad Alberto Hurtado.
  • Consejo Nacional de la Cultural y de las Artes. 2004. Los trabajadores del Sector Cultural en Chile.
  • Estudio de Caracterización. Available at: http://www.cultura.gob.cl/wp-content/uploads/2012/03/Los
  • Trabajadores-del-Sector-Cultural.-Estudio-de-Caracterizaci%C3%B3n.pdf [accessed September 18th Consejo Nacional de la Cultural y de las Artes. 2012. Caracterización del Proceso de Profesionalización de los Artistas Visuales Nacionales. Available at: http://www.observatoriocultural.gob.cl/revista/7- estudios/10-estudio-de-caracterizacion-del-proceso-de-profesionalizacion-de-los-artistas-visuales-en- chile/ [accessed February 8th 2017]
  • Consejo Nacional de la Cultural y de las Artes. 2016. Política de Fomento de las Artes Visuuales: 2010
  • Available at http://www.cultura.gob.cl/wp-content/uploads/2011/11/politica_artesvisuales.pdf accessed February 22nd 2017]
  • Cuevas Vergara, S., 2011. Asesinato Cultural en el Mapocho. Diario El Mostrador [on-line article], 19 de enero 2011 [accessed February 8th 2017].
  • Dezeuze, A., 2006. Thriving on adversity: the art of precariousness. Mute, 2(3), pp. 74 – 87.
  • Errázuriz, L. and Quijada Leiva, G., 2012. El Golpe Estético: Dictadura Militar en Chile 1973 – 1989.
  • Santiago: Ocho Libros. Fison, M., 2015. Graffiti artists the new ad men? Why business is booming for muralists. Cnn.com, [on-line article]. [Accessed August 21st 2015].
  • Gómez Morel, A., 1997. El Río. Santiago: Editorial Sudamericana Chilena
  • Harvey, D., 2001. Heritage Pasts and Heritage Presents: Temporality, Meaning and the Scope of Heritage
  • Studies. International Journal of Heritage Studies, [e-journal], 7(4), pp. 319 – 38. http://dx.doi.org/10.180/13581650120105534.
  • Ilabaca, G., 2014. Valparaíso Roland Bar. Puerto de fama y el olvido. Santiago: Narrative Punto Aparte.
  • Knott, S., 2015. Amateur Craft: History and Theory. London and New York: Bloomsbury.
  • Kunzle, D., 1978. Art and the New Chile: Mural, Poster and Comic Book in a “Revolutionary Process”. In
  • H. Millan and L. Nochlin, eds. 1978. Art and Architecture in the Service of Politics. Cambridge and MA: MIT Press. pp. 356 – 381.
  • Leadbeater, C. and Miller, P., 2004. The pro am revolution: how enthusiasts are changing our economy and society. London: Demos. Available at: http://www.demos.co.uk/files/proamrevolutionfinal.pdf accessed August 10th 2015].
  • Lee, A., 2007. Amateur. Keywords of Media Theory. Available at: http:// csmt.uchicago.edu/glossary2004/amateur.htm [Accessed August 10th 2015].
  • Lindsayt. 2010. El mural ferroviario. FatCap. Available at: http://www.fatcap.com/article/el-mural- ferroviario.html [accessed August 23rd 2015].
  • Longoni, A., 1999. Brigadas muralistas: la persistencia de una práctica de comunicación político-visual.
  • Revista de Critica Cultural, 19, pp. 21-27. Merrrill, S. 2015. Keeping it real? Subcultural Graffiti, street art, heritage and authenticity. International
  • Journal of Heritage Studies, [e-journal], 21(4), pp. 369-389. http://dx.doi.org/DOI: 1080/13527258.2014.934902.
  • MOCAtv, 2013. Global Street Art – Valparaíso, Chile, Series Art in the Streets. Available at: https://www.youtube.com/watch?v=jSB_W7m5AK0 [Accessed February 9th 2017].
  • Mosquera, G. ed., 2006. Copiar el Eden: Arte Reciente en Chile/Copying Eden: Recent Art from Chile.
  • Santiago: Ediciones Puro Chile. Muñoz Zuñiga, C., 2012. Vivir a orillas del río Mapocho, o la ocupación de la frontera’. Proposiciones
  • (special edition Chile: Identidad e Identidades), 35, pp. 99-126. Mutate Britain, 2011. Graffiticide in Santiago de Chile . Available at: http://www.mutatebritain.com/tag/chile/ [Accessed February 9th 2017].
  • Next: A Primer on Urban Painting. 2015. [Documentary] Pablo Aravena. Chile.
  • Osess, M. and Vicio, M., 2009. Un Grito en la Pared: Psicodelia, Compromiso Político y Exilio en el Cartel
  • Chileno. Santiago: Ocho Libros. Palmer, R., 2009. ‘Muralismo Graffitero’. In: Street Art en Chile Central (exhibition catalogue). Santiago: Fundación Itau.
  • Palmer, R., 2011. Street Art Chile. London: Eight Books.
  • Rodríguez Plaza, P., 2011. Pintura Callejera Chilena: Manufactura Estética y Provocación Teórica.
  • Santiago: Ocho Libros. Schacter, R., 2008. An ethnography of Iconoclash: An investigation into the production, consumption and destruction of street-art in London. Journal of Material Culture, [e-journal], 13(1), pp. 35-61. http://dx.doi.org/10.1177/1359183507086217.
  • Rojas, C., 2013. Video Museo Arte Luz, [vimeo film]. Available at: https://vimeo.com/43980699 [accessed February 8th 2017]
  • Smith, L., 2006. Uses of Heritage. London and New York: Routledge.
  • Smith, L. and Waterton, E., 2009. “The Envy of the World?” Intangible Heritage in England. In: L. Smith and N. Akagawa, eds. 2009. Intangible Heritage. London and New York: Routledge, pp. 289 – 302.
  • Trumper, C., 2005. Ephemeral Histories: Public Art as Political Practice in Santiago, Chile, 2070 – 1973.
  • In: S. Nagy-Zekmi and F. Leiva, eds. 2005. Democracy in Chile: the Legacy of September 11, 1973.
  • Brighton and Portland: Sussex Academic Press, pp 142-153. Trumper, C., 2016. Ephemeral Histories: Public Art, Politics, and the Struggle for the Streets in Chile.
  • California: University of California Press. UNESCO. 2003. Convention for the Safeguarding of the Intangible Cultural Heritage. Available at http://unesdoc.unesco.org/images/0013/001325/132540e.pdf. Last accessed August 13th 2015.
  • Vodanovic, L., 2013. The New Art of ‘Being’ Amateur: Distance as Participation. Journal of Visual Art
  • Practice, [e-journal], 12(2), pp. 169 -179. http://dx.doi.org/10.1386/jvap.12.2.169_1
  • Waclawek, A., 2011. Graffiti and Street Art. London and New York: Thames and Hudson.

SOCIAL AESTHETICS: OLD AND NEW MAKINGS IN CHILE’S STREET ART

Yıl 2017, Cilt: 2 Sayı: 2, 37 - 47, 01.04.2017

Öz

This article problematizes the resonance of divisions such as professional/amateur or art/craft in the context of contemporary street art in Chile, a set of practices that provides an interesting window to explore issues of self-organization and new models of making in a country that is usually hailed as one the most successful economy in the region. It uses the recent ‘blanking out’ of the Mapocho river’s bank that for decades has been a favoured canvas for street artists , which aimed to provide a neutral background for a light art project carried out by established artists –the Museo Arteluz—, as the space to articulate this discussion.

Kaynakça

  • Akagawa, N., and Smith, L. eds., 2009. Intangible Heritage. London and New York: Routledge.
  • Arvidsson, A., 2006. Brand: Meaning and value in media culture. London: Routledge.
  • Arvidsson, A., 2008. The Ethical economy of consumer coproduction’. Journal of Macromarketing, [e- journal], 28(4), pp 326 – 338. http://dx.doi.org/10.1177/0276146708326077
  • Berríos, M. and Machuca, G. 2006. Art and Context: Three Decades of Aesthetic Production in Chile. In
  • G. Mosquera, ed. 1980. Copiar el Eden: Arte Reciente en Chile/Copying Eden: Recent Art from Chile.
  • Santiago: Ediciones Puro Chile. pp. 84 – 101. Brett, G., 1989. A Radical Leap. In Art in Latin America, The Modern Era, 1820-1980 (exhibition catalogue). London: Hayward Gallery.
  • Brett, G., 1990. Border Crossings. In Transcontinental: Nine Latin American Artists (exhibition catalogue). Birmingham: Ikon.
  • Burdick, C. and Canessa Vicencio, F., 2015. “Popular demands do not fit in ballot boxes”: graffiti as intangible heritage at the Iglesia de San Francisco, Santiago? International Journal of Heritage Studies, e-journal], 21(8), pp. 735 - 756. http://dx.doi.org/10.1080/13527258.2015.1028963.
  • Castillo Espinoza, E., 2006. Puño y Letra: Movimiento Social y Comunicación Gráfica en Chile. Santiago
  • Ocho Libros Editores. Castillo Fernández, S., 2014. El río Mapocho y sus riberas: espacio pşblico e intervención urbana en
  • Santiago de Chile (1885-1918). Santiago: Ediciones Universidad Alberto Hurtado.
  • Consejo Nacional de la Cultural y de las Artes. 2004. Los trabajadores del Sector Cultural en Chile.
  • Estudio de Caracterización. Available at: http://www.cultura.gob.cl/wp-content/uploads/2012/03/Los
  • Trabajadores-del-Sector-Cultural.-Estudio-de-Caracterizaci%C3%B3n.pdf [accessed September 18th Consejo Nacional de la Cultural y de las Artes. 2012. Caracterización del Proceso de Profesionalización de los Artistas Visuales Nacionales. Available at: http://www.observatoriocultural.gob.cl/revista/7- estudios/10-estudio-de-caracterizacion-del-proceso-de-profesionalizacion-de-los-artistas-visuales-en- chile/ [accessed February 8th 2017]
  • Consejo Nacional de la Cultural y de las Artes. 2016. Política de Fomento de las Artes Visuuales: 2010
  • Available at http://www.cultura.gob.cl/wp-content/uploads/2011/11/politica_artesvisuales.pdf accessed February 22nd 2017]
  • Cuevas Vergara, S., 2011. Asesinato Cultural en el Mapocho. Diario El Mostrador [on-line article], 19 de enero 2011 [accessed February 8th 2017].
  • Dezeuze, A., 2006. Thriving on adversity: the art of precariousness. Mute, 2(3), pp. 74 – 87.
  • Errázuriz, L. and Quijada Leiva, G., 2012. El Golpe Estético: Dictadura Militar en Chile 1973 – 1989.
  • Santiago: Ocho Libros. Fison, M., 2015. Graffiti artists the new ad men? Why business is booming for muralists. Cnn.com, [on-line article]. [Accessed August 21st 2015].
  • Gómez Morel, A., 1997. El Río. Santiago: Editorial Sudamericana Chilena
  • Harvey, D., 2001. Heritage Pasts and Heritage Presents: Temporality, Meaning and the Scope of Heritage
  • Studies. International Journal of Heritage Studies, [e-journal], 7(4), pp. 319 – 38. http://dx.doi.org/10.180/13581650120105534.
  • Ilabaca, G., 2014. Valparaíso Roland Bar. Puerto de fama y el olvido. Santiago: Narrative Punto Aparte.
  • Knott, S., 2015. Amateur Craft: History and Theory. London and New York: Bloomsbury.
  • Kunzle, D., 1978. Art and the New Chile: Mural, Poster and Comic Book in a “Revolutionary Process”. In
  • H. Millan and L. Nochlin, eds. 1978. Art and Architecture in the Service of Politics. Cambridge and MA: MIT Press. pp. 356 – 381.
  • Leadbeater, C. and Miller, P., 2004. The pro am revolution: how enthusiasts are changing our economy and society. London: Demos. Available at: http://www.demos.co.uk/files/proamrevolutionfinal.pdf accessed August 10th 2015].
  • Lee, A., 2007. Amateur. Keywords of Media Theory. Available at: http:// csmt.uchicago.edu/glossary2004/amateur.htm [Accessed August 10th 2015].
  • Lindsayt. 2010. El mural ferroviario. FatCap. Available at: http://www.fatcap.com/article/el-mural- ferroviario.html [accessed August 23rd 2015].
  • Longoni, A., 1999. Brigadas muralistas: la persistencia de una práctica de comunicación político-visual.
  • Revista de Critica Cultural, 19, pp. 21-27. Merrrill, S. 2015. Keeping it real? Subcultural Graffiti, street art, heritage and authenticity. International
  • Journal of Heritage Studies, [e-journal], 21(4), pp. 369-389. http://dx.doi.org/DOI: 1080/13527258.2014.934902.
  • MOCAtv, 2013. Global Street Art – Valparaíso, Chile, Series Art in the Streets. Available at: https://www.youtube.com/watch?v=jSB_W7m5AK0 [Accessed February 9th 2017].
  • Mosquera, G. ed., 2006. Copiar el Eden: Arte Reciente en Chile/Copying Eden: Recent Art from Chile.
  • Santiago: Ediciones Puro Chile. Muñoz Zuñiga, C., 2012. Vivir a orillas del río Mapocho, o la ocupación de la frontera’. Proposiciones
  • (special edition Chile: Identidad e Identidades), 35, pp. 99-126. Mutate Britain, 2011. Graffiticide in Santiago de Chile . Available at: http://www.mutatebritain.com/tag/chile/ [Accessed February 9th 2017].
  • Next: A Primer on Urban Painting. 2015. [Documentary] Pablo Aravena. Chile.
  • Osess, M. and Vicio, M., 2009. Un Grito en la Pared: Psicodelia, Compromiso Político y Exilio en el Cartel
  • Chileno. Santiago: Ocho Libros. Palmer, R., 2009. ‘Muralismo Graffitero’. In: Street Art en Chile Central (exhibition catalogue). Santiago: Fundación Itau.
  • Palmer, R., 2011. Street Art Chile. London: Eight Books.
  • Rodríguez Plaza, P., 2011. Pintura Callejera Chilena: Manufactura Estética y Provocación Teórica.
  • Santiago: Ocho Libros. Schacter, R., 2008. An ethnography of Iconoclash: An investigation into the production, consumption and destruction of street-art in London. Journal of Material Culture, [e-journal], 13(1), pp. 35-61. http://dx.doi.org/10.1177/1359183507086217.
  • Rojas, C., 2013. Video Museo Arte Luz, [vimeo film]. Available at: https://vimeo.com/43980699 [accessed February 8th 2017]
  • Smith, L., 2006. Uses of Heritage. London and New York: Routledge.
  • Smith, L. and Waterton, E., 2009. “The Envy of the World?” Intangible Heritage in England. In: L. Smith and N. Akagawa, eds. 2009. Intangible Heritage. London and New York: Routledge, pp. 289 – 302.
  • Trumper, C., 2005. Ephemeral Histories: Public Art as Political Practice in Santiago, Chile, 2070 – 1973.
  • In: S. Nagy-Zekmi and F. Leiva, eds. 2005. Democracy in Chile: the Legacy of September 11, 1973.
  • Brighton and Portland: Sussex Academic Press, pp 142-153. Trumper, C., 2016. Ephemeral Histories: Public Art, Politics, and the Struggle for the Streets in Chile.
  • California: University of California Press. UNESCO. 2003. Convention for the Safeguarding of the Intangible Cultural Heritage. Available at http://unesdoc.unesco.org/images/0013/001325/132540e.pdf. Last accessed August 13th 2015.
  • Vodanovic, L., 2013. The New Art of ‘Being’ Amateur: Distance as Participation. Journal of Visual Art
  • Practice, [e-journal], 12(2), pp. 169 -179. http://dx.doi.org/10.1386/jvap.12.2.169_1
  • Waclawek, A., 2011. Graffiti and Street Art. London and New York: Thames and Hudson.
Toplam 53 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Bölüm Research Article
Yazarlar

Lucıa Vodanovıc Bu kişi benim

Yayımlanma Tarihi 1 Nisan 2017
Yayımlandığı Sayı Yıl 2017 Cilt: 2 Sayı: 2

Kaynak Göster

APA Vodanovıc, L. (2017). SOCIAL AESTHETICS: OLD AND NEW MAKINGS IN CHILE’S STREET ART. International Journal of Social Sciences and Interdisciplinary Studies, 2(2), 37-47.
AMA Vodanovıc L. SOCIAL AESTHETICS: OLD AND NEW MAKINGS IN CHILE’S STREET ART. International Journal of Social Sciences and Interdisciplinary Studies. Nisan 2017;2(2):37-47.
Chicago Vodanovıc, Lucıa. “SOCIAL AESTHETICS: OLD AND NEW MAKINGS IN CHILE’S STREET ART”. International Journal of Social Sciences and Interdisciplinary Studies 2, sy. 2 (Nisan 2017): 37-47.
EndNote Vodanovıc L (01 Nisan 2017) SOCIAL AESTHETICS: OLD AND NEW MAKINGS IN CHILE’S STREET ART. International Journal of Social Sciences and Interdisciplinary Studies 2 2 37–47.
IEEE L. Vodanovıc, “SOCIAL AESTHETICS: OLD AND NEW MAKINGS IN CHILE’S STREET ART”, International Journal of Social Sciences and Interdisciplinary Studies, c. 2, sy. 2, ss. 37–47, 2017.
ISNAD Vodanovıc, Lucıa. “SOCIAL AESTHETICS: OLD AND NEW MAKINGS IN CHILE’S STREET ART”. International Journal of Social Sciences and Interdisciplinary Studies 2/2 (Nisan 2017), 37-47.
JAMA Vodanovıc L. SOCIAL AESTHETICS: OLD AND NEW MAKINGS IN CHILE’S STREET ART. International Journal of Social Sciences and Interdisciplinary Studies. 2017;2:37–47.
MLA Vodanovıc, Lucıa. “SOCIAL AESTHETICS: OLD AND NEW MAKINGS IN CHILE’S STREET ART”. International Journal of Social Sciences and Interdisciplinary Studies, c. 2, sy. 2, 2017, ss. 37-47.
Vancouver Vodanovıc L. SOCIAL AESTHETICS: OLD AND NEW MAKINGS IN CHILE’S STREET ART. International Journal of Social Sciences and Interdisciplinary Studies. 2017;2(2):37-4.