Vandalismus an Kunstwerken und darauf folgende Versuche, deren Originalzustand wieder herzustellen, sind so alt wie die Kunst selbst. Selten aber wurde die Restaurierung eines beschädigten Kunstwerks ...so umfangreich dokumentiert wie bei Mark Rothkos „Black on Maroon“ (Schwarz auf Maronenbraun). Das Gemälde wurde 2012 mit Graffiti‐Farbe verunstaltet und hängt heute wieder, scheinbar unversehrt, in der Londoner Tate Gallery of Modern Art. Verfolgen wir die aufwendige Wiederherstellung des Kunstwerks und erfreuen uns an diesem Beispiel, wie die Chemie zur Erhaltung unseres kulturellen Erbes beigeträgt.
Vandalismus an Kunst
Chemie in unserer Zeit,
08/2021, Volume:
55, Issue:
4
Journal Article
Peer reviewed
Die verunstaltende Graffiti‐Botschaft ”Vladimir Umanets, A Potential Piece of Yellowism 12“ eines Verwirrten auf einem Gemälde von Mark Rothko in der Londoner Tate Gallery of Modern Art kann mit ...einer optimierten Falschfarbendarstellung für unsere Augen besonders kontrastreich darstellt werden. Die äußerst schwierige und aufwendige Restaurierung des Gemäldes mit einem Schätzwert von rund 10 Millionen Euro dauerte eineinhalb Jahre und demonstriert, wie erfolgreich die Chemie zur Erhaltung unseres kulturellen Erbes beiträgt.
Perhaps another resident would drive by, roll down a window, and challenge Poppy's right to be on the private road, and then she could inquire about the riddle of the rolling rock. Was the boulder ...placed by some indecisive landscaper who was trying different spots? A flip-flopping, head-scratching hardscaper? Curiously, though, several paintings were defaced with graffiti, and one was slashed. Amber sat across in a deformed armchair and put the wine and glasses on the millstone coffee table between them. Featured was one of the paintings that stood in the room, but without the ugly graffiti.
"Prevailing perspectives on ancient Jewish life have been shaped largely by the voices of intellectual and social elites, preserved in the writings of Philo and Josephus and the rabbinic texts of the ...Mishnah and Talmud. Commissioned art, architecture, and formal inscriptions displayed on tombs and synagogues equally reflect the sensibilities of their influential patrons. The perspectives and sentiments of nonelite Jews, by contrast, have mostly disappeared from the historical record. Focusing on these forgotten Jews of antiquity, 'Writing on the Wall' takes an unprecedented look at the vernacular inscriptions and drawings they left behind and sheds new light on the richness of their quotidian lives. Just like their neighbors throughout the eastern and southern Mediterranean, Mesopotamia, Arabia, and Egypt, ancient Jews scribbled and drew graffiti everyplace--in and around markets, hippodromes, theaters, pagan temples, open cliffs, sanctuaries, and even inside burial caves and synagogues. Karen Stern reveals what these markings tell us about the men and women who made them, people whose lives, beliefs, and behaviors eluded commemoration in grand literary and architectural works. Making compelling analogies with modern graffiti practices, she documents the overlooked connections between Jews and their neighbors, showing how popular Jewish practices of prayer, mortuary commemoration, commerce, and civic engagement regularly crossed ethnic and religious boundaries."
Sociologias, em sua linha editorial, compartilha essa orientação destacando a importância dos conhecimentos produzidos no Sul Global para a resolução dos graves problemas que o novo século nos ...coloca, o que nos levou a esta parceria com o CES. José Alberto Simões e Ricardo Campos, no artigo “Articulações entre a rua e o digital nas práticas culturais juvenis” examinam as práticas juvenis do rap de protesto e do graffiti buscando compreender em que medida as novas mídias digitais contribuem para produzir as práticas representativas dessas subculturas juvenis e para promover novas formas de participação. Com os densos debates desse número convidamos nossos leitores a refletir sobre nosso lugar no mundo atual e a contribuição que podemos dar, desde o Sul, para uma sociedade em que o devir contenha sustentabilidade natural e inclusão social.
Scribbling Through History Ragazzoli, Chloé; Harmansah, Ömür; Salvador, Chiara ...
2018, 2018-05-31
eBook
For most people the mention of graffiti conjures up notions of subversion, defacement, and underground culture. Yet, the term was coined by classical archaeologists excavating Pompeii in the 19th ...century and has been embraced by modern street culture: graffiti have been left on natural sites and public monuments for tens of thousands of years. They mark a position in time, a relation to space, and a territorial claim. They are also material displays of individual identity and social interaction. As an effective, socially accepted medium of self-definition, ancient graffiti may be compared to the modern use of social networks. This book shows that graffiti, a very ancient practice long hidden behind modern disapproval and street culture, have been integral to literacy and self-expression throughout history.
This thesis presents a new comprehensive study of the possible functions of a space discovered underneath the Duomo of Siena in the late 1990s. The hundreds of graffiti onto the walls of the site ...inspired this thesis and allowed a rethinking of the planning of the building, its famous frescoes, and their reception. The research was started by considering previous publications on this space, which mainly focused on its structure and painted cycle. The first chapter investigates the structure of the site within the construction phases of the Duomo and the urban organisation of the city, together with symbolic analysis. The second chapter offers new analyses of the painted cycle in terms of narrative strategies, reconstruction of the lost episodes, new iconographic identifications of some of the scenes, and message of the painted cycle. It then investigates the relationship between the paintings and liturgical uses of the space. The third chapter focuses on the graffiti by framing them in the wider context of this medieval phenomenon, as well as attempting the identification of the possible makers of these signs. A study of the meaning and intention behind these markings is provided. Finally, the thesis includes a catalogue of the graffiti that provides information on each item.
The form of graffiti writing on trains and walls is not accidental. Nor is its absence on cars and houses. Employing a particular style of letters, choosing which walls and trains to write on, ...copying another writer, altering or destroying another writer’s work: these acts are regulated within the graffiti subculture. Copyright Beyond Law presents findings from empirical research undertaken into the graffiti subculture to show that graffiti writers informally regulate their creativity through a system of norms that are remarkably similar to copyright. The ‘graffiti rules’ and their copyright law parallels include: the requirement of writing letters (subject matter) and appropriate placement (public policy and morality exceptions for copyright subsistence and the enforcement of copyright), originality and the prohibition of copying (originality and infringement by reproduction), and the prohibition of damage to another writer’s works (the moral right of integrity). The intersection between the ‘graffiti rules’ and copyright law sheds light on the creation of subculture-specific commons and the limits of copyright law in incentivising and regulating the production and location of creativity.
The post-Soviet history of Republic of Moldova is tantamount to the history of Chisinau. With almost 800 600 inhabitants, that is 22% of the total population of the Republic of Moldova, the city of ...Chisinau stands out not only as the major urban contributor to Republic of Moldova's economy (almost 60 percent of the GDP), but also as the site of the most intense symbolic clashes and protest marches, the latter being organized by both political parties and retired people, war veterans, public clerks, journalists, students etc. Starting with the "Twitter Revolution" (Apr 7-9, 2009) one could easily notice that the "identity battle" has reached a new level: from a collective and public level, coordinated by the state, to an individual level. The authors have argue that, once the parades are over, fanfare silences, and public celebrations come to an end the graffiti message still keeps on the public agenda the following identity dilemma: "Who are we"?
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