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Street Art: how and where it was born

When we talk about Street Art we must consider the motivational aspect, in addition to the purely artistic, to better understand its conformation.

Street Art

Street Art, how it was born

Street Art first appeared in New York in the 1950s and 1960s, with the explosion of so-called graffiti in the Big Apple.

The movement brings with it cries of protest that the artists took to the surfaces of the city, from the walls to the facades of buildings and universities. Street Art thus becomes the symbol of a renewed artistic expression, quickly becoming a true social as well as cultural ceremony. In particular, artists of the caliber of Fekner, Hambleton, Haring and Basquiat operated in the heart of Manhattan.

Street Art

However, it would be a mistake to categorize Street Art as an exclusively protest manifestation. Many artists use it to elevate their conception of a freer and more expressive artistic activity.

Also in Italy in the 1980s there was a disconnect between the art of protest and that of “pure expression”. In that period, in fact, murals increased without a real critical message or a precise final addressee. Subsequently, the first decade of the 2000s, with the entry of the graffiti generation and the massive use of internet, street art changes its skin, spreads to the masses and changes gears. In the peninsula, Milan, Rome and Bologna are the centers of greatest activity.

Street Art

The Bolognese context, in particular, sees the emergence of numerous artists who will establish themselves with vigor in the following years, among all Blu, a world-famous street artist and video author, Ericailcane, whose imaginary that hybridizes man and animal has led him to be also one of the best known Italian street artists in the world and Eron, active since the nineties between Rimini and Bologna.

One of Street Art’s neighbors is undoubtedly the thin thread that often separates artistic expressions from mere vandalism. This is the reason why a large part of public opinion struggles to understand and digest the presuppositions of this artistic movement. The time assisted by the awareness campaigns in this sense implemented by the artists themselves is succeeding in making all the contents of the movement digestible.

To the point that street art is seen less and less as a phenomenon that can be traced back to or assimilated with vandalism, although it remains and will remain an art form that cannot ignore its most prominent connotative element, namely, subordination to rules.

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