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Masters Dissertation The Influence of Street Art on Community Development in Kharkiv, Ukraine

The dissertation looks at the way a modern-day street art might shape urban aesthetics and social communities, on- and offline. Using urban theory of Henri Lefebvre and aesthetic theory of Jacques Rancière, I study community response and cultural background of the destruction of a famous piece of street art in Kharkiv, Ukraine. I analyse the dynamics of urban relationships, the way they are constructed and evolve by looking at street art as a political utterance, a speech act, defined by local cultural context and social relations. The main question of the study is whether a conflict over a piece of uncommissioned art can help redefine governmental policies and citizens’ attitude to contemporary urban public spaces and whether street art can be used to transform urban communities.

Related Papers

Journal of Urban Cultural Studies

Tijen Tunali

Street art, with its subcultural character and sociability, has been looked upon for its anti-cultural potential. While some accounts have diverted attention to street art's utopia with its creative dissidence and regenerative potential, others have insisted that street art has already been coopted by the aesthetic and institutional order of the neoliberal economy. This special issue aims to contribute to the critical perspectives of cultural geography, urban sociology, art history, visual studies and critical theory through analyses of the urban space and street art. The prolific significance of this issue is in its multi-perspective approach to bring together social, political and aesthetic dimensions in the intersection of art and the changing urban environment. Recently, activist art, social practice and socially engaged art are just a few terms that have been popular for describing art that attempts to attract public attention to the current social and political landscape. This thematic journal issue explores the potential theoretical and empirical inputs that a spatial and urban approach of art can bring to the understanding of both arts and the urban space. It offers a multi-geographical, multi-dimensional and interdisciplinary perspective to analyze how street art, as an aesthetic dispositive, functions as an integral part in the socio-political space of the urban landscape. Street art contests two main regimes of visibility-legal and governmental on one side, and artworld or social aesthetic on the other-which creates the conditions within which it must compete for visibility. How can we interpret the politics of street art from the perspective of subcultures, freedom of expression, and limits of criminality? Are street artists obliged to be a part of the urban resistance against neoliberalism? How does street art reveal, delimit or question the complexity of neoliberal urbanization? How is street art activism perceived by the authorities, politicians, businesses, and the wider public? What prompts street artists to communicate with urban dwellers with their marks on the city's surface? How does street art partake in social movements? This special issue hopes to continue academics' and artists' conversations on street art's relationship with the urban space and the public as a defining element of urban culture, but also offers a critical look at the spatial and political dynamics that reflect territorially embedded mechanisms that generate particular social and cultural processes.

City, Territory and Architecture

Félix Duque

Anne Kurjenoja

Tiffany Conklin

Studia Politica: Art and Politics in (Post)communism, Vol. XI., no. 4, edited by Caterina Preda, 713-723.

Zoran Poposki

http://www.ceeol.com/aspx/issuedetails.aspx?issueid=1ae80a9b-930b-437b-aea0-2ccda2f5913c In the countries of former Eastern Europe, the collapse of socialism and the subsequent onset of neoliberal capitalism have resulted in a massive transfiguration of urban public space at the hands of commercial interests. Examples include the proliferation of outdoor advertising that destroys the character of natural and historic urban landscapes, commercial events that restrict access to parks and squares, the design of retail kiosks and storefronts in and around public spaces that does not respect the local context sending a signal that it no longer represents the local community. Instead of public space where people interact freely, without the coercion of state institutions – the productive, constantly remade, democratic public space – there is space for recreation and entertainment where access is limited only to suitable members of the public: ”A controlled and orderly retreat where a properly behaved public might experience the spectacle of the city” (Mitchell). Drawing on insights from major theorists of public space, this paper explores the transformation of urban space in the post-socialist cities of Central and Southeast Europe (Skopje), focusing on examples of creative reuse, artistic conversion and social re-writing of the urban landscape in the face of massive economic, political and social changes.

User Experience and Urban Creativity Journal

Rebellious artists have always engaged with issues of oppression and exploitation–by-products of colonialist and capitalist systems–throughout history from slavery and resource extraction; to exploitative labor practices and the environmental consequences of industrialization; and human rights movements and climate change anxieties of the past century. Arts that take place in urban struggles are not about igniting a change but are about creating unmediated spaces and instances of emancipated subjects. The authors in this issue analyze various forms of art within economic, cultural and social urban contexts to shed light on the complexity of modern urban life and struggles for more just cities. Perhaps now it is more pressing than ever to acknowledge, examine, and reect upon both historic and perpetuating inequalities in urban social life. It is imperative to talk about art and its involvement with urban struggles as pertaining to the re-creation rather than the consumption of the city. Therefore, this special issue’s contributors engage in key areas of the socio-political relationships with new urban poetry--what the reconfiguration of dierence, equality, and equity entails at present moment in the urban space for art and artists. . This issue further aims to construct bridges between the contemporary practices of art for the urban public and the critiques of the city generated in disciplines such as urban sociology and human geography, informed by critical theories of urbanism, society, and culture. The issue opens with Philipp Shadner’s discussion of the 1970s punk movement, which not only questioned and provoked aesthetic values but also has had a major influence on the multitude of styles of urban art until the present. Shadner gives us insights into the history of the punk movement, the symbols and slogans punks used and still use not only for tagging urban spaces, but also put temporarily or permanently on their skins and/or their clothes to create a visual struggle against the conformist mainstream society. Arthur Crucq’s article analyses the social and political role of collaboratory art in an urban community in The Hague, Netherlands. Using examples of textile installations, Crucq’s discussion centers on recognizing community art projects as autonomous platforms for the development of political agency in the urban space. Jeni Peake looks at street art activism from the perspective of linguistics. Peake explores English graffiti found in urban spaces in the city of Bordeaux, France. With a large number of graffiti examples adhering to many themes of social struggle, Peake’s article seeks to establish to what extent the use of English could be understood as a political or at least rebellious and creative act. Angelos Evangelidis examines the political posters on the walls of the streets in Athens that worked as both a visual and political platform for the anti-austerity movement in Greece (2010-2015). Furthermore, Evangelinidis’ literature review shows that the dialectical relationship between urban space and visual practice is the key to map the process of art’s role in social struggles.

De vidas Artes

Voica Puscasiu

Gülçin Erdi , Tijen Tunali

Art’s practical place in reconstituting the urban space as one of the defining elements of urban culture renders a twofold role. The role of art in the neoliberal urban planning shows that art is an integral part of current capitalist processes that are turning the neoliberal art subject in a source of capital—both as a resource for tourism and a real estate investment. However, recent research has found that arts and art establishments are not as significant in gentrification processes as before (Grodach, Fostor, Murdoch 2018). Indeed, art has been both a product of and a response to the unequal distribution of resources and visibility in the city through the processes of new urban planning. For example, a growing resistance against neoliberal urbanism in Europe (Colomb & Novy 2016) demonstrates the relationship of artist communities and neighborhood organizations and challenges the prescriptive approaches to art’s role in neoliberal aestheticization.

Ulrich Blanché

Space and Culture

Julia Tulke

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Graffiti, street art and the right to the surface: for a semiotic, cultural and legal approach to urban surfaces and inscriptions

The vertical surfaces of cities are archives of urban identities, and contested terrains of occupation and visibility. They provide a location for numerous signs, markings and inscriptions, whose visual, material and territorial dynamic is under permanent negotiation. This thesis takes as its subject this dynamic between urban surfaces and inscriptions, to understand their spatial politics and their impact on urban cultures. The thesis focuses particularly on graffiti and street art as forms of surface inscriptions, and analyses their cultural, legal and spatial development from New York in the 1970s to contemporary London. The thesis provides a critical reading of the nomenclature of these practices and their institutional appropriations by local administrations, the art market and urban branding strategies. Graffiti and street art are discussed in relation to neoliberal urban governance agendas, between criminalisation, eradication, and commodification as part of the creative cities paradigm. Methodologically, the thesis engages with close readings of urban surfaces, as well as the discourses that manage them. I propose surface semiotics as an original method to interpret inscriptions in-situ, which I use as a form of analytical visual method throughout the thesis. Approaches from art sociology, visual culture and legal geography are also used to address concepts such as the image of the city, urban property regimes, and issues of access and control of urban spaces. This thesis is a contribution to urban studies, street art and graffiti studies, and a foundational step towards establishing a field of surface studies. Based on a close analysis of city surfaces and inscriptions, the main argument of this project is that urban surfaces are spaces of collective political production and agency, and are key sites for the exploration of urgent notions such as the right to the city and the urban commons.

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Home > College of the Arts > Art & Design > ART_DESIGN_THESES > 50

Art and Design Theses

Street art & graffiti art: developing an understanding.

Melissa L. Hughes

Date of Award

Degree type, degree name.

Master of Arts in Education (MAEd)

Art and Design

First Advisor

Melody Milbrandt - Chair

Second Advisor

Melanie Davenport

Third Advisor

Teresa Bramlette Reeves

While graffiti is revered as an art form to some, it is often seen as an unwanted nuisance by others. While vibrantly rich in history, graffiti has a controversial past, present, and future that will likely continue to be the subject of debate, especially with the insurgence of street art, an art form that often overlaps graffiti art in subject matter, media, aesthetic appearance, and placement as a public form of art. Distinguishing between street art and graffiti art proves quite challenging to the undiscerning eye, yet through a series of interviews and thorough investigation, I questioned the contexts of street art and graffiti art. By introducing non-traditional forms of art that are engaging to adolescent students, street art and graffiti art can expand the secondary art curriculum by helping students become more cognizant of current social, visual and cultural aesthetics in their own visual world.

https://doi.org/10.57709/1062182

Recommended Citation

Hughes, Melissa L., "Street Art & Graffiti Art: Developing an Understanding." Thesis, Georgia State University, 2009. doi: https://doi.org/10.57709/1062182

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Galleries & Museums

Street art takes centre stage in Moscow, Russia

From the Bolshoi Ballet to Kandinsky, Moscow has a long and storied history in the arts. But now, a more modern art form is primed to take centre stage

Story By SilverKris

Published On March 30, 2017 Updated On September 21, 2021

In the past decade, Russia’s street-art movement has emerged from the shadows. You can say it’s in the midst of a renaissance. The Russian port city of St Petersburg now has a dedicated Street Art Museum . An impressive 200 sq m of wall space in a plastics factory now displays the works of artists from around the globe.

Not wishing to be outdone, Moscow has also launched its own street-art initiatives. To enliven the capital city’s drab neighbourhoods and old buildings, the government has invited local artists to paint murals. In 2014, the city held its first Artmossphere Street Art Biennale  to promote this underground art form.

In fact, stroll through Moscow and you may discover almost as much about the city from its streets as you can at its museums.

The avant-garde

The story of Moscow’s street art begins with a single building, painted white, blue and red – the colours of the national flag. The Mosselprom (below) rises 10 storeys over the main pedestrian street, Arbat. When the building was erected almost 100 years ago, it was among the tallest in Moscow.

“In my works, one can find traces of Russian art,” says Petro. “I redefined Soviet avant-garde and Suprematism, which can be seen in my geometrical works.” A celebrity of the city’s street-art movement, he was recently invited to decorate a store window and launch a limited-edition T-shirt collection at trendy shopping mall Tsvetnoy . The centre is a great place to shop for Russian fashion brands.

The awakening

The decision to promote street art in the Russian capital began three years ago, when the Moscow government asked art association Artmossphere to curate the LGZ Festival. Its name is an acronym for “luchshiy gorod zemli”, which translates to “the best city in the world”.

“We invited both established and up-and-coming Russian and international artists [to take part],” says Artmossphere co-founder Yuliya Vasilenko. “For three months, around 150 city walls were transformed into eye-catching murals.”

Among the more prominent festival works, which you can still find today, is a portrait of one of the greatest ballerinas of the 20th century, Maya Plisetskaya. Brazilian street artist Eduardo Kobra created a colourful mural (16 Bolshaya Dmitrovka) in the heart of the city to honour the late prima ballerina, who performed countless times at the nearby Bolshoi Theatre .

The surrounding Tverskoy district is known for its streets filled with upmarket boutiques. But in the labyrinth of side lanes, you will find what is arguably some of Moscow’s finest outdoor art. On Zvonarsky Lane, French artist Nelio hid the number 1789 – a nod to the French Revolution – within a geometric pattern that spans the wall of an apartment block.

Down the road, there is a mural featuring birds by Portuguese artist Antonio Correia, also known as Pantonio, who is famous for his animal imagery. And a huge hand, painted by Spanish artist Escif, high-fives travellers who dare to stumble off the beaten path.

Close to 900 years ago, Moscow was founded in what is today the Red Square – the city’s heart. After an energetic walk around the iconic Kremlin, enclosed by massive stone walls that stretch for 2.5km, locals head to nearby pedestrian thoroughfare Nikolskaya Street in search of refreshment.

Besides having the biggest range of cider in Moscow, Ciderella (11 Nikolskaya St) also houses an artwork by Zoom. With a humorous style and an elusive nature, he has been dubbed the “Russian Banksy”, after the mysterious yet globally renowned street artist.

Watch our video above for Moscow’s most striking art created in public locations.

– TEXT BY NATALIA MAIBORODA

PHOTOS: FRANK HERFORT

This article was originally published by Singapore Press Holdings.

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Department of the History of Art

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Bartunkova, Barbora , “Sites of Resistance: Antifascism and the Czechoslovak Avant-garde” (C. Armstrong)

Betik, Blair Katherine , “Alternate Experiences: Evaluating Lived Religious Life in the Roman Provinces in the 1st Through 4th Centuries CE” (M. Gaifman)

Boyd, Nicole , “Science, Craft, Art, Theater: Four ‘Perspectives’ on the Painted Architecture of Angelo Michele Colonna and Agostino Mitelli” (N. Suthor). 

Brown, Justin , “Afro-Surinamese Calabash Art in the Era of Slavery and Emancipation” (C. Fromont)

Burke, Harry , “The Islands Between: Art, Animism, and Anticolonial Worldmaking in Archipelagic Southeast Asia” (P. Lee)

Chakravorty, Swagato , “Displaced Cinema: Moving Images and the Politics of Location in Contemporary Art” (C. Buckley, F. Casetti)

Chau, Tung , “Strange New Worlds: Interfaces in the Work of Cao Fei” (P. Lee)

Cox, Emily , “Perverse Modernism, 1884-1990” (C. Armstrong, T. Barringer)

Coyle, Alexander , “Frame and Format between Byzantium and Central Italy, 1200-1300” (R. Nelson)

Datta, Yagnaseni , “Materialising Illusions: Visual Translation in the Mughal Jug Basisht, c. 1602.” (K. Rizvi)

de Luca, Theo , “Nicolas Poussin’s Chronotopes” (N. Suthor)

Dechant, D. Lyle . ” ‘daz wir ein ander vinden fro’: Readers and Performers of the Codex Manesse” (J. Jung)

Del Bonis-O’Donnell, Asia, “Trees and the Visualization of kosmos in Archaic and Classical Athenian Art” (M. Gaifman)

Demby, Nicole, “The Diplomatic Image: Framing Art and Internationalism, 1945-1960” (K. Mercer)

Donnelly, Michelle , “Spatialized Impressions: American Printmaking Outside the Workshop, 1935–1975” (J. Raab)

Epifano, Angie , “Building the Samorian State: Material Culture, Architecture, and Cities across West Africa” (C. Fromont)

Fialho, Alex , “Apertures onto AIDS: African American Photography and the Art History of the Storage Unit” (P. Lee, T Nyong’o)

Foo, Adela , “Crafting the Aq Qoyuniu Court (1475-1490) (E. Cooke, Jr.)

Franciosi, Caterina , “Latent Light: Energy and Nineteenth-Century British Art” (T. Barringer)

Frier, Sara , “Unbearable Witness: The Disfigured Body in the Northern European Brief (1500-1620)” (N. Suthor)

Gambert-Jouan, Anabelle , “Sculpture in Place: Medieval Wood Depositions and Their Environments” (J. Jung)

Gass, Izabel, “Painted Thanatologies: Théodore Géricault Against the Aesthetics of Life” (C. Armstrong)

Gaudet, Manon , “Property and the Contested Ground of North American Visual Culture, 1900-1945” (E. Cooke, Jr.)  

Haffner, Michaela , “Nature Cure: ”White Wellness” and the Visual Culture of Natural Health, 1870-1930” (J. Raab)

Hepburn, Victoria , “William Bell Scott’s Progress” (T. Barringer)

Herrmann, Mitchell, “The Art of the Living: Biological Life and Aesthetic Experience in the 21st Century” (P. Lee)

Higgins, Lily , “Reading into Things: Articulate Objects in Colonial North America, 1650-1783” (E. Cooke, Jr.)

Hodson, Josie , “Something in Common: Black Art under Austerity in New York City, 1975-1990” (Yale University, P. Lee)

Hong, Kevin , “Plasticity, Fungibility, Toxicity: Photography’s Ecological Entanglements in the Mid-Twentieth-Century United States” (C. Armstrong, J Raab)

Kang, Mia , “Art, Race, Representation: The Rise of Multiculturalism in the Visual Arts” (K. Mercer)

Keto, Elizabeth , “Remaking the World: United States Art in the Reconstruction Era, 1861-1900.” (J. Raab)

Kim, Adela , “Beyond Institutional Critique: Tearing Up in the Work of Andrea Fraser” (P. Lee)

Koposova, Ekaterina , “Triumph and Terror in the Arts of the Franco-Dutch War” (M. Bass)

Lee, Key Jo , “Melancholic Materiality: History and the Unhealable Wound in African American Photographic Portraits, 1850-1877” (K. Mercer)

Levy Haskell, Gavriella , “The Imaginative Painter”: Visual Narrative and the Interactive Painting in Britain, 1851-1914” (T. Barringer, E. Cooke Jr)

Marquardt, Savannah, “Becoming a Body: Lucanian Painted Vases and Grave Assemblages in Southern Italy” (M. Gaifman)

Miraval, Nathalie , “The Art of Magic: Afro-Catholic Visual Culture in the Early Modern Spanish Empire” (C. Fromont)

Mizbani, Sharon , Water and Memory: Fountains, Heritage, and Infrastructure in Istanbul and Tehran (1839-1950) (K. Rizvi)

Molarsky-Beck, Marina, “Seeing the Unseen: Queer Artistic Subjectivity in Interwar Photography” (C. Armstrong)

Nagy, Renata , “Bookish Art: Natural Historical Learning Across Media in Seventeenth-century Northern Europe” (Bass, M)

Olson, Christine , “Owen Jones and the Epistemologies of Nineteenth-Century Design” (T. Barringer)

Petrilli-Jones, Sara , “Drafting the Canon: Legal Histories of Art in Florence and Rome, 1600-1800” (N. Suthor)

Phillips, Kate , “American Ephemera” (J. Raab)

Potuckova, Kristina , “The Arts of Women’s Monastic Liturgy, Holy Roman Empire, 1000-1200” (J. Jung)

Quack, Gregor , “The Social Fabric: Franz Erhard Walther’s Art in Postwar Germany” (P. Lee)

Rahimi-Golkhandan, Shabnam , “The Photograph’s Shabih-Kashi (Verisimilitude) – The Liminal Visualities of Late Qajar Art (1853-1911)” (K. Rizvi)

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Riordan, Lindsay , “Beuys, Terror, Value: 1967-1979” (S. Zeidler)

Robbins, Isabella , “Relationality and Being: Indigeneity, Space and Transit in Global Contemporary Art” (P. Lee, N. Blackhawk)

Sen, Pooja , “The World Builders ” (J. Peters)

Sellati, Lillian , “When is Herakles Not Himself? Mediating Cultural Plurality in Greater Central Asia, 330 BCE – 365 CE” (M. Gaifman)

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Verrot, Trevor , “Sculpted Lamentation Groups in the Late Medieval Veneto” (J. Jung)

Von-Ow, Pierre , Visual Tactics: Histories of Perspective in Britain and its Empire, 1670-1768.”  (T. Barringer)

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Webley, John , “Ink, Paint, and Blood: India and the Great Game in Russian Culture” (T. Barringer, M. Brunson)

Werwie, Katherine , “Visions Across the Gates: Materiality, Symbolism, and Communication in the Historiated Wooden Doors of Medieval European Churches” (J. Jung)

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Young, Colin , “Desert Places: The Visual Culture of the Prairies and the Pampas across the Nineteenth Century” (J. Raab)

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Moscow Has a New Standard for Street Design

• Written by Strelka Magazine
• Published on August 25, 2016

Earlier this year the development of a new Street Design Standard for Moscow was completed under a large-scale urban renovation program entitled My Street , and represents the city's first document featuring a complex approach to ecology, retail, green space, transportation, and wider urban planning. The creators of the manual set themselves the goal of making the city safer and cleaner and, ultimately, improving the quality of life. In this exclusive interview, Strelka Magazine speaks to the Street Design Standard 's project manager and Strelka KB architect Yekaterina Maleeva about the infamous green fences of Moscow, how Leningradskoe Highway is being made suitable for people once again, and what the document itself means for the future of the Russian capital.

Strelka Magazine: What is the Street Design Standard and what does it include?

Yekaterina Maleeva: The Street Design Standard is a manual for street planning in Moscow . The Standard is divided into four books, each one of them covering particular aspects of street design. Many cities across the globe have developed their own standards and the concept has gained a lot of popularity over the last decade. The New York Street Design Manual is a famous example; the book has even been translated into Russian. However, Moscow streets have little in common with New York streets, for example; every city has its own unique urban typology and simply copying existing solutions from another manual is not a viable option.

When we started our work on the Standard , the first thing we did was study Moscow streets, their peculiarities and common features. The first volume of the Standard focuses on the typology and distinctive attributes of the streets of Moscow. We gathered data on more than 3,000 streets and processed the data. Despite the large sample size, we discovered certain similarities. We managed to identify ten of the most common street types, but some unique streets could not be categorized. For instance, Tverskaya Street, built in 19th century, originally fell under category "10C." But after it was widened in the 1930s, Tverskaya ended up in a unique place within the urban fabric of Moscow. Such objects as that require a case by case approach and an individual project.

What can be found in the other volumes?

After we identified these ten street types, we started working on defining the best way to approach the development of each. The second book describes what a street of each type must have. We developed a general profile and functional zoning for each type. The pavement is more than just a pedestrian lane: there is a buffer zone between the roadway and the walking lane where the parking posts, street lights and communication lines are located. It’s a mandatory utility zone that has to be paved in such a way that any section can be easily unpaved and replaced. There is also a pedestrian fast lane for people walking to their workplace and a promenade with benches and other objects. Building façades have a large impact on the street they are facing. Restaurants and shops are located in these buildings. Making the adjacent zone retail-friendly is important. Cafes and restaurants must be able to open street patios to attract customers without disrupting the pedestrian traffic. How to apply these concepts to each of the street types is thoroughly explained in the Standard .

The third book describes eleven groups of design elements, including surface materials, benches, trash bins and lights. This catalogue of elements contains no mention of suppliers. It does not promote any manufacturers; instead it describes the attributes which define a quality product. For instance, the third book explains which type of tree grates will serve the longest while causing no damage to the root system of a tree. Styles of grates, bins, benches and other elements may vary, but all the items must comply with the quality standard.

Finally, the fourth book focuses on the planning process: how to perform preliminary analysis, how to apply user opinions during the development and how to achieve quality implementation. Additionally, there is a special emphasis on the fact that street planning cannot be carried out without any regard for the context of the street. A street should be regarded as a part of an interconnected system of various public spaces, together with adjacent parks, garden squares, yards and plazas.

Does the Standard have an official status? Should it be considered a law or merely a guideline?

There are a number of state-level laws and regulations relevant to street design issued by the Moscow Government. They were taken into account during the development of the manual. These regulations ensure safety standards and must be complied with. While the existing legislation covers safety aspects, our books introduce comfort standards. The Standard is basically a non-binding, advisory guideline created with the goal of improving the urban environment everywhere across the capital and maintaining it at a high level.

What happens if a street does not fit any of the mentioned types (and is not as significant as Tverskaya)? For instance, what if a street located in the New Moscow territory has cottages on one side, apartment complexes on the other and an entrance to the Moscow Ring Road somewhere along the way?

A standard is not a ready-made solution. The streets share common features yet also retain their individual attributes at the same time. Applying a single standard profile to every street is impossible. Adjustments are always in order.

The Standard offers three sets of solutions for each type of street with a large potential for combining various elements. The manual basically offers a convenient database that a designer working with a new space could use. That does not mean that all the new projects will look exactly the same. Some solutions featured in the Standard are yet to be implemented anywhere in Moscow . For instance, our collaboration with Transsolar, a German company consulting us on environmental comfort, revealed that Moscow’s largest environmental problem was not in fact CO2, but small-particle dust produced by studded tyre traction. And a simple method to control this type of pollution already exists. Many busy streets outside the city center have a green buffer zone separating the roadway from the sidewalks. A 1.5m high ground elevation running along this zone could filter out up to 70% of the tyre dust, preventing it from spreading into the residential areas. Western countries have been successfully using this technology for many years. Now it is a part of Moscow Standard . By the way, a terrain elevation could also help reduce the level of road noise.

Does the Standard offer anything for the main roads? For example, nowadays Leningradskoye Highway basically splits the city into two disconnected parts; it’s a car dominion.

The Standard does not offer solutions for transportation problems. When we were defining our street typology, we relied on traffic load data calculated using Moscow ’s transportation model. We pursued a goal of only offering solutions that would not aggravate the current transport situation. Any planned sidewalk extension or addition of a bicycle lane or road crossing should first be approved by the Moscow Department of Transport.

As for the main roads, our research revealed that the streets with the highest traffic load also have the heaviest pedestrian traffic. One would think that it should be the other way around. However, the main roads have metro stations, which generate a lot of pedestrian traffic, which in turn draws retail. Treating main roads the same way as highways is impossible. The needs of both vehicle traffic and local residents must be taken into account, which creates a paradox.

These territories have every opportunity to become more comfortable. Some have relatively large green buffer zones that currently remain underused. The Standard proposes to augment these zones with additional functionality. On one hand, some of the main streets will gain attraction centers, especially near intersections connecting them to the adjacent residential areas. Weekend markets are one example of such centers. On the other hand, the Standard involves the creation of zones able to absorb extra precipitation flowing from the roads and filter it. There is a list with types of vegetation best fit to handle this task. The same zones could be used to store snow in the winter. The meltwater will be naturally absorbed by the soil, alleviating the need for moving the snow out to melt. This, however, would require decreasing the quantity of melting chemicals sprayed over the snow, as the plants underneath might be susceptible to their effects.

Can the new Standard rid us of green lawn fences, yellow curbs and other eternal eyesores?

The choice of yellow and green appears random, so we have no idea how to actually fight that. The Standard offers no colour schemes. As long as fences meet the set requirements, their colour does not matter. However, currently they seem to fail to comply. The Standard states that lawns do not require fencing. This is a waste of materials: people will not trample grass and bushes just for the sake of it, while dog owners will trespass anyway. There are many other options for protecting lawns from being trampled. For instance, a same-level pavement strip with a different texture could protect a lawn from accidental intruders just as well as a curb can.

Natural soil water absorption is currently largely ignored, with most  precipitation going down the storm drains. Meanwhile patches of open terrain on a street are able to absorb water. Employing these natural cycles in street layout could save resources.

Does the Standard provide any financial estimations? For instance, an approximate cost of renovating a street of a particular type?

No, as the Standard does not list any products of any particular brand, there are no prices to refer to. Nonetheless, the Standard was developed to fit three potential price ranges. Whether their estimated price is low or high, all the elements ensure that quality requirements are met. The same quality level must be maintained across the whole city and never drop below the set standard.

Let’s say a world-famous architect arrives to Moscow to design a street. He puts incredibly beautiful things into his project, which, unfortunately, contradict the Standard and are not guaranteed to work as intended. In that scenario, will the architect be told to stick to the Standard ?

This could happen and I think it would be a good thing. If an architect plans to place a sculpture on a 1.5 meter wide sidewalk, would that really be a good idea? Following the Standard ensures smooth movement. Its goal is to reinvigorate the streets. In Copenhagen, new design manuals helped increase average time spent by residents outside by 20% over 10 years. That was achieved through creating convenient and attractive public spaces. Moreover, implementation of the Standard enables the creation of professional documentation for architects, which excludes the possibility of any instructions that will later be unclear to the experts trying to work with them. Finally, the Standard also pursues the task of providing the opportunity for the development of street retail.

Isn’t retail a whole different story? How can retail be introduced in such places as Strogino District, where the ground floors are living floors and have security bars on windows? By reintroducing street vendors?

True, business has no direct relation to street renovation. However, there is a strong connection between them. In Strogino, building façades are mostly located far from the sidewalk. Moreover, facades are often concealed by shrubbery and trees, making local businesses even less noticeable. Another problem is that first floor apartments cannot be used for commercial purposes due to insufficient ceiling height (3 m compared to 3.5 m required minimum). Nonetheless, we discovered multiple examples of shop owners reconstructing apartments in residential districts to meet the requirements.

Our British consultant Phil Wren, a street retail expert, travelled Moscow ’s residential districts and studied the existing examples. He came up with a great idea: building an expansion connected to the façade and facing the sidewalk. This makes it possible both to achieve the required ceiling height and increase the visibility of the business to the passers-by. The part of the shop located in the apartment can be used as a utility room or a stockroom. This way the noise level is reduced, regulations are met and store space is increased. Our Russian consultants confirmed the viability of the proposed concept. And the Standard will ensure that any added expansions will look presentable.

Does the  Standard also regulate façade appearances, an architectural element? What should be expected from this? It is unlikely that all houses which fail to comply will be demolished once the Standard is implemented. 

Renovation works with what is given. Of course, façades cannot be changed. Central Moscow has a problem with mansions and many other buildings being fenced off, which prevents them from accommodating street retail. Central streets are also relatively narrow. The Standard proposes sidewalk expansion wherever the access to the first floors is open. Street renovation does not always involve planting trees. Some places require enhanced crossings so that people can quickly reach the other side of the street to get to a shop or a café. Those streets where the facades are windowless are a more suitable place to plant more vegetation.

Can an average person – not an architect, designer or construction worker – understand the new Standard , or is it a technical document which can only be interpreted by a professional?

Any person can. The Standard is written in a way that both professionals and common citizens are able to understand. The Standard contains multiple images, photos, infographics and diagrams and is written in plain language. We would love for more people to read it: the books contain many interesting solutions for our city that affect every pedestrian.

In late March it was revealed that Strelka KB would be developing a standard for recreational zones and public areas in Moscow . What differences will that document have from the Street Design Standard ?

The two standards will have a lot in common. The city currently faces a task of developing a connected system of public spaces. The first logical step was to work with the streets which actually connect areas of attraction and other public spaces. Now the work on all other public spaces takes off. Parks, garden squares, yards, water bank recreation areas, plazas near metro stations must all fall into place. Work with these territories will set a single quality standard. In addition, it will improve Moscow ’s quality of life and reduce air pollution. Simple solutions could improve airflow, increase biodiversity and reduce noise levels at the same time.

The renovation program is quite long and depends on numerous standards and documents. But when exactly will the endless repair works end? Are there any time estimations for when all these concepts will finally get implemented?

This is not an easy question. Full renovation may last decades. The Standard is the first step towards actually controlling the renovation process and its timeline. Until now renovation has been proceeding rather haphazardly. Now the city has decided that the way the streets are designed should be clarified. We understand that the Standard cannot last unchanged for eternity and should, just like any regulation, undergo periodical updates. The Standard uses flexible typology: a street of one type could transition to another within a few years under certain conditions, such as changes in its usage and its user categories. Everything must stay regularly updated according to the accumulated experience.

During our work on the Standard , we held regular roundtables joined by experts and ordinary citizens. One of our guests mentioned that he had recently started paying attention to Moscow ’s facades, their beauty and their drawbacks. He was able to do that because he no longer had to watch his step. So the process has already started and we already see some results.

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Fake ads, real politics: the art of Foka Wolf, the ‘Birmingham Banksy’ – in pictures

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Anonymous street artist Foka Wolf uses the language of advertising to highlight political and social issues, from the PPE crisis to food banks. “I grew up in a low income, single-parent household,” he says, “so I take it very fucking personally when people in power try and demonise those who are broke and voiceless.” Known as the Birmingham Banksy (“I prefer Poundland Banksy”), Wolf has fooled countless people with his fake billboards. “There’s a lot of power in putting words on paper. One poster was offering students money to grow 23 pairs of ears on their back and quite a few people were up for it.” During tough political times, does it get harder to make satire? “Easier. More dickheads – more targets.”

Kathryn Bromwich

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Dissertations / Theses on the topic 'Street art, mural'

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Consult the top 15 dissertations / theses for your research on the topic 'Street art, mural.'

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Segal, Marcelle. "Street art commentary as inspiration for jewellery design." Thesis, Cape Peninsula University of Technology, 2010. http://hdl.handle.net/20.500.11838/1442.

Graça, Pedro Moreira. "O Muro de fora: Matrizes e desenvolvimentos da pintura e escritura mural paulistana." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-14022019-105126/.

Davos, Afroditi Climis. "Locating the politics of contemporary public art towards a new historiography /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1973060661&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

Gunnell, Katherine. "Street Art: Its Display in Public Space and Issues within a Municipality." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1284.

Andriani, Bruno Corrente [UNESP]. "Palimpsestos urbanos: uma reflexão sobre arte na rua." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/86945.

Santos, Janete Ferreira Rodrigues dos. "O grafite no contexto urbano da cidade de São Carlos." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-03022016-114226/.

Amor, García Rita Lucía. "ANÁLISIS DE ACTUACIÓN PARA LA CONSERVACIÓN DE GRAFITIS Y PINTURA MURAL EN AEROSOL. ESTUDIO DEL STRAPPO COMO MEDIDA DE SALVAGUARDA." Doctoral thesis, Universitat Politècnica de València, 2017. http://hdl.handle.net/10251/89086.

Filardo, Giuseppe. "Reciprocity : where art meets the community : action research in response to artistic encounters and relationships." Queensland University of Technology, 2009. http://eprints.qut.edu.au/30153/.

Maasoglu, Goncagül. "Inkluderandet av urban konst i stadsplaneringen : En studie om graffiti och gatukonst i offentliga rum." Thesis, KTH, Urbana och regionala studier, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-296222.

Gyekis, Elody Eberly Rosa A. "Community murals as processes of collaborative engagement case studies in urban and rural Pennsylvania /." [University Park, Pa.] : Pennsylvania State University, 2009. http://honors.libraries.psu.edu/theses/approved/WorldWideIndex/EHT-15/index.html.

Tarawneh, Aram. "Entrapped Between State and Tradition: The Effects of Graffiti and Street Art on the Jordanian Society." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21094.

Kulhavý, Marek. "Mural art a jeho vývoj v České republice." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-408875.

Reis, Mariana Sacramento Costa dos. "Das trianguralidades entre design, arte e publicidade bos espaços públicos : um estudo sobre o mural urbano publicitário." Master's thesis, 2017. http://hdl.handle.net/10437/8384.

Pałys, Justyna. "Sztuka uliczna jako medium komunikacji społecznej w Europie. Analiza materiałów źródłowych z Wielkiej Brytanii, Niemiec i Polski z lat 1970-2012." Doctoral thesis, 2014. https://depotuw.ceon.pl/handle/item/823.

Khan, Sharlene. "A critical analysis of the iconography of six HIV/AIDS murals from Johannesburg and Durban, in terms of race, class and gender." Thesis, 2008. http://hdl.handle.net/10539/4694.

Houston Art Car Parade: Events schedule, where to watch, forecast, route, street closures and more!

One of Houston's favorite events is right around the corner and it's a guaranteed good time! 

The 37th annual Houston Art Car Parade  on Saturday, April 13, will feature over 250 wild and wacky works of art on wheels. Along with cars, trucks and vans, parade entries include bicycles, unicycles, go-carts and even lawnmowers.

Editor's note: The above video originally aired in April 2023. 

It's the oldest and largest art car parade in the world and attracts an estimated 250,000 people,  according to organizers with The Orange Show.

They'll line the streets to watch mobile masterpieces from 23 states, Mexico and Canada roll through downtown and along Allen Parkway  beginning at 2 p.m. It lasts about two hours.

Best of all, the parade is free! 

This year's grand marshal is Brock Wagner, founder of Saint Arnold Brewing Company, which is celebrating its 30th anniversary. 

Art Car Parade route

The parade starts in the inbound lanes of Allen Parkway/Dallas. It will head east onto Bagby, north onto Smith, west onto Walker, south onto Bagby, west onto Lamar/outbound Allen Parkway and end at the Waugh St. Bridge.

There will be food trucks, drinks and restrooms along the route.

Chairs are welcome but you'll need to get there early to scope out a spot to park them. You can also buy reserved seats here  for $40.

Here's a downloadable map  of the parade route. 

This is an interactive map. Just click on the icons for more information.

Art Car Parade street closures

If you drive, leave plenty of time to navigate around the street closures that start a few days before the parade.

Here are the closures for Saturday, April 13.

• McKinney St. from Bagby St. to Smith St. (FULL CLOSURE) – until 8 p.m.

• Walker St. from Smith St. to Bagby St. (FULL CLOSURE) – 7 a.m. - 8 p.m.

• Allen Parkway Connector off Walker St. West of Bagby St (FULL CLOSURE) – 7 a.m. - 6 p.m.

• Bagby St. from Walker St. to Dallas St. (FULL CLOSURE) – 7 a.m. - 6 p.m.

• Louisiana St. (West Curb Lane) from Lamar St. to Walker St. – 7 a.m. - 6 p.m. 

• Heiner St. from Allen Parkway to Dallas St. (FULL CLOSURE) – 7 a.m. - 6 p.m.

• Allen Parkway Exit Ramps at I-45 North and Southbound Exits – 7 a.m. - 6 p.m.

• McKinney Exit Ramp at I-45 Southbound – 7 a.m. - 6 p.m.

• Walker-McKinney between City Hall Annex & Bagby – 7 a.m. - 6 p.m.

• Walker St. from Louisiana St. to Smith St. (North Curb Lane) from 7 a.m. - 6 p.m.

• Lamar St. from Smith St. to Brazos St. (North Curb Lane) from 7 a.m. - 6 p.m.

Weather forecast for Art Car Parade

Organizers say Saturday's parade will be held rain or shine, but the forecast promises a nice, sunny day, according to the KHOU 11 weather team!

You'll find the  latest Houston forecast here .

Other Art Car Weekend events

Main street drag.

What : The Main Street Drag  presented by H-E-B is the first official event of Houston Art Car Parade Weekend. Art car artists offer mini parades at schools and other locations across Houston to visit with people who may not be able to attend the big parade.  

When : Thursday, April 11 from 9 a.m. to 1 p.m.

Where : Galleria area; Medical Center area; Meyerland area; East End; and southeast Houston 

Art Car Sneak Peek 

What: Head downtown to Discovery Green for a Sneak Peek  at nearly 100 mobile masterpieces featured in this year's parade. This free, family-friendly event also includes craft activities for the kiddos.

When : Thursday, April 11 from 6 p.m. to 10 p.m.

Where : Discovery Green  and along Avenida Houston

The Legendary Art Car Ball

What : The Legendary Art Car Ball  takes place on the eve of the parade and it's the perfect place to show off your weirdly wonderful side. At the wildest party of the year -- think "Burning Man meets Mardi Gras" -- you can enjoy live music, performance art, creative costumes and over 100 illuminated Art Cars.

When:  Friday, April 12, from 6 p.m. to 11 p.m.

Where : Orange Show World Headquarters  

• Tickets are still available for $50 or $200 for access to the VIP Lounge with an open bar, complimentary bites, valet parking and comfy seating areas. 
• You must be at least 18 to attend.

Starting Line Party

What : Get into the Art Car spirit early and scope out a good spot to watch the parade at The Starting Line Party! See over 250 Art Cars participating in the parade and enjoy live music, street performers, food, beverages and more.

When : Saturday, April 13, at 11 a.m.

Where : Allen Parkway from Bagby St. to Taft St.

Kids Creative Zone

What : The H-E-B Kids Creative Zone  is the perfect place to take the kiddos for hands-on interactive art projects and workshops from some of Houston's leading creative institutions, as well as children's entertainment, food, beverages, and more!

When:  Saturday, April 13, from 11 a.m. to 2 p.m.  

Where:  Sam Houston Park at 1000 Bagby St.

VIPit Experience

What : Let the good times roll early at the  VIPit Party and Benefit  for The Orange Show's Houston Art Car Festival. 

Tickets  are $250 for adults and $45 for kids 12 and under. They include:

• Complimentary alcoholic & non-alcoholic beverages 
• Complimentary bites from a dozen of Houston's best restaurants
• Clean, air-conditioned restrooms
• Reserved, nearby parking
• Creative art activities for kids (and adults!)
• Commemorative 2024 Houston Art Car Parade Program 
• Custom 2024 Houston Art Car Parade Badge & Lanyard
• Incredible views of the 37th Annual Houston Art Car Parade

When :  Saturday, April 13, 12 p.m. to 4 p.m.

Where : Hermann Square at Houston City Hall 

Art Car Award Ceremony

What : Each year, the Orange Show Center for Visionary Art awards over $15,000 in prize money to artists, schools, and teams chosen by a panel of judges. The public is invited to come cheer on those winners whose entries wowed the judges and the crowds.

When : Sunday, April 14, 11 a.m. to 2 p.m. 

Where : The Orange Show Headquarters at 2401 Munger St. 

See the 2023 winners here!

Click here for more information about each event.

Art Car Parade history

The first parade was held in 1988 with 40 cars and about 2,000 spectators. The following year, the parade size doubled and the crowd grew to tens of thousands.

Word spread across the country thanks partly to a California artist who traveled to Houston with his own art car. Harrod Blank, who did two films and two books about art cars, told fellow artists all over America about the Houston event. Art cars began traveling from all over to take part in the parade.

Art Car Museum

Can't make it to the parade? No worries. You can see some of the entries at the Art Car Museum in the Heights. Sadly, it's closing for good on April 28.

RELATED: Houston Art Car Museum to shut its doors in April, according to message on website

RELATED: HIDDEN GEM: Art Car Museum