Art Galleries, auction houses and urban art: evolution and parallelisms in independent art practices
Keywords:
auction, street art, graffiti, urban art, galleries, independent public art, art-market
Abstract
With the expansion of independent public art practices and their recognition as accessible and acceptable to the public, their forms were introduced and expanded into traditional environments such as galleries and auction houses. Consequently, specialists, gallerists and auctioneers recognised the commercial potential of these works, and accepted graffiti and street art within the contemporary art market repertoire. This originally independent art currently found in the private sector is what is known internationally as “Urban Art”.
Historically, the birth, evolution and crossing of borders of practices from public spaces to their inclusion in galleries are relatively recent events. However, much has occurred from the first exhibitions of the 1970s to the present day. This article will look at everything that has happened since then, showing how the inclusion of works by graffiti writers and street artists in the commercial art market has influenced the art and its conservation.
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References
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WACLAWEK, Anna. (2011). Graffiti and Street Art. Londres: Thames and Hudson.
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BAXTER, A (2019). The controversial Banksy Book. http://banksybook.com/ [Consulta: 26 de agosto de 2019]
BOUJNAH, S;GABARET, Jim (2015a) Street Art À la Française, Episodio 4 “Wall Street Art”.
BOUJNAH, S.; GABARET, Jim (2015b) Street Art À la Française, Episodio 5 “The Art of Marketing”.
CASTLEMAN, C.(1982). Getting Up. Subway Graffiti in New York. Massachusetts: The MIT Press.
GABLIK, S.(1982). “Report From New York: The Graffiti Question”. En Art in America Magazine, archives. https://www.artinamericamagazine.com/news-features/magazines/from-the-archives-report-from-new-york-the-graffiti-question/ [Consulta: 29 de Agosto de 2019]
GARCIA PARDO, B. (2015). Grafiti y Postgrafiti en la ciudad de Valencia: una perspectiva crítica. Tesis doctoral. Valencia: Universidad de Valencia. http://roderic.uv.es/handle/10550/45854 [Consulta: 26 de agosto de 2019]
GENESIUS, M. (2017). Markus Genesius, Wow 123. http://markus-genesius.com/ [Consulta: 13 de marzo de 2017]
GERULLIS, M.(2013). Meeting of Styles, Volume 1. Berlin: From Here to Fame.
HACKNEY CITIZEN (2019). “Stik’s community mural ‘finally’ back in Poland after long tug-of-war with London gallery”. En Hackney Citizen, June 21, 2019. https://www.hackneycitizen.co.uk/2019/06/21/stik-community-mural-back-poland/ [Consulta: 26 de agosto de 2019]
HARRINGTON, C.(2019). Conor Harrington – Works. http://www.conorharrington.com/ [Consulta: 29 de agosto de 2019]
JANIS, S. y NEUMANN, D. (1983). Post-graffiti: exhibition by post-graffiti artists, opening Thursday December 1-31st, at Sidney Janis Gallery, New York, 1983. Nueva York: The Gallery.
LAKER LEGAL (2013). “Banksy graffiti, Intellectual Property & who owns what?”. En Laker Legal Solicitors Blog. http://www.lakerlegal.co.uk/banksy-graffiti-intellectual-property-who-owns-what/ [Consulta: 26 de agosto de 2019]
LEWISOHN, C. (2009). Street Art. The Graffiti Revolution. Londres: Tate Publishing.
LEWISOHN, C. (2011). Abstract graffiti. Londres: Merrell.
McCORMICK, C. y CORCORAN, S. (2013). City as Canvas: New York City Graffiti from the Martin Wong Collection: New York City Graffiti and the Martin Wong Collection. Nueva York: Skira Rizzoli.
MOCA (2016). "Art in the Streets”. En MoCA website. https://www.moca.org/exhibition/art-in-the-streets [Consulta: 26 de agosto de 2019]
MUSEUM OF THE CITY OF NEW YORK (2014). “City as Canvas. February 4 – September 21, 2014”. En Museum of the City of New York, Exhibitions. http://www.mcny.org/exhibition/city-canvas [Consulta: 26 de agosto de 2019]
NUART (2019). Nuart Festival. http://www.nuartfestival.no/home [Consulta: 29 de agosto de 2019]
PEST CONTROL (2019). Pest Control Handling Services http://pestcontroloffice.com/ [Consulta: 26 de agosto de 2019]
PHILLIPS (2019a). “20th Century and Contemporary Art”, En Phillips Auctions, Departments. https://www.phillips.com/departments/department?DepartmentName=Contemporary [Consulta: 26 de agosto de 2019]
PHILLIPS (2019b). “Stik, Magpie, 2009. Lot 90” En Phillips - London Auction 8 December 2016. https://www.phillips.com/detail/stik/UK010816/90 [Consulta: 26 de agosto de 2019]
PHILLIPS (2019c). “Stik, Big Mother, 2014. Lot 14” En Phillips - London Auction 5 December 2018. https://www.phillips.com/detail/stik/UK010818/14 [Consulta: 26 de agosto de 2019]
Reino Unido (2017). “Copyright, Designs and Patents Act 1988”. En Acts of Parliment, 15 de noviembre de 1998 [versión actualizada 10/7/2017], chapter 48, article 11.
SCHACTER, R. (2013). The World Atlas of Street Art and Graffiti. Londres: Aurum Press.
SOTHEBYS (2018). “Contemporary Curated”. En Sotheby’s auctions, results. http://www.sothebys.com/en/auctions/2018/contemporary-curated-l18027.html?locale=en [Consulta: 26 de agosto de 2019]
SOTHEBYS (2019a). “Banksy, Untitled (Mother and Child), Lot 408”. En Sothebys Auctions, Contemporary Art, E-catalogue 2005. https://www.sothebys.com/en/auctions/ecatalogue/2005/contemporary-art-w05709/lot.408.html [Consulta: 26 de agosto de 2019]
SOTHEBYS (2019b) “Banksy | Online”. En Sothebys Auctions, Upcoming.
SOTHEBYS (2019c). “Contemporary Art”. En Sotheby’s auctions, Departments. https://www.sothebys.com/en/departments/contemporary-art?locale=en [Consulta: 26 de agosto de 2019]
STIK (2019a). “Stolen £30,000 Stik Sculptures Returned to Community”. En Stik website. http://stik.org/news [Consulta: 26 de agosto de 2019]
STIK (2019b). “STIK Deletes Remains of Missing Artwork”. En Youtube, Stik Stik channel. https://www.youtube.com/watch?v=G0oRvx-n1n0 [Consulta: 26 de agosto de 2019]
TATE MODERN (2008a). “Street Art Exhibition”. En Tate website. https://www.tate.org.uk/whats-on/tate-modern/exhibition/street-art [Consulta: 29 de agosto de 2019]
TATE MODERN (2008b). “Street Art Exhibition, Press Releases”. En Tate website. https://www.tate.org.uk/press/press-releases/street-art-tate-modern [Consulta: 29 de agosto de 2019]
THE TELEGRAPH (2014). “Banksy artwork saves youth club as it sells for £400k”. En The Telegraph, Culture, Art – 24 August 2014. https://www.telegraph.co.uk/culture/art/11059481/Banksy-artwork-saves-youth-club-as-it-sells-for-400k.html [Consulta: 29 de agosto de 2019]
UPFEST (2019). Upfest 2016. Europe’s largest Street Art and Graffiti Festival. http://www.upfest.co.uk/ [Consulta: 29 de agosto de 2019]
WACLAWEK, Anna. (2011). Graffiti and Street Art. Londres: Thames and Hudson.
WYNWOOD WALLS (2019). The Wynwood Walls’ website. http://www.thewynwoodwalls.com/ [Consulta: 29 de agosto de 2019]
YOUNG, A. (2014). Street Art, Public City. Law, Crime and the Urban Imagination. Oxon: Routledge.
Published
2019-12-11
How to Cite
Amor García, R. L. (2019). Art Galleries, auction houses and urban art: evolution and parallelisms in independent art practices. Ge-Conservacion, 16, 125-133. https://doi.org/10.37558/gec.v16i0.701
Section
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