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This paper presents findings related to symbolic interactionism in the development and interpretation of art installations. It stems from three projects created by the first author: "Attrition," "Contrition," and "Babel Amidst an Arising." This paper looks at symbolic interactionism as a proactive tool used by the artist first to engage the observer; second to construct an environment that communicates through shared meanings and societal experiences; and third to shape future decisions made by the observers. Initially inspired by glass resurfacing in a landfill near the Murano Glassworks in Venice, the installations grapple with questions surrounding decisions we make each day related to our fate and that of our planet. Intermingled religious symbols and references are used throughout all three installations. In "Attrition" Koranic names for Allah adorn forms rising from a symbolic landfill to a mandala-like canopy emblazoned with Old Testament names for God. Visual references are made to the rainbow, sign of the God's covenant with Man. In "Contrition" ex voto figures rise from a symbolic landfill bearing images of personal loss. In "Babel Amidst an Arising" a cacophony of multi-lingual voices and discordant ambient sounds rise from seemingly tranquil video images. This paper also explores the use of symbolic interactionism theory as a tool to address the development and interpretation of design concepts. In early design studios it was noted that students often found it difficult to uncover and understand design inspirations; so the second author constructed exercises to help them explore underlying meanings in art, specifically in two of the installations being considered here: "Attrition" and "Contrition." Their interpretations of these installations were discussed from a perspective of symbolic interactionism, specifically in light of the societal issues addressed. Subsequently, students reported an increased awareness of underlying meanings. They became more aware of the effects of symbolic interactionism in their lives. Significantly, the artist also is an observer; so the cyclical nature of symbolic interactionism is duly noted here. [ABSTRACT FROM AUTHOR]

This study focuses on the birth of the various methodologies concerning the conservation of Street Art. Due to the current commercial success of this artistic movement people have begun to ask how best to conserve the many contemporary artworks painted on walls. Street artists make use of different surfaces when creating their works: canvases, paper posters, stickers and billboards. For the preservation of all works painted on walls the course of action generally taken is to exhibit them in museums. The Smithsonian Institute bought from Shephard Fairey, aka Obey, the "Hope" poster which he created during the Obama Presidential Election. Paintings on walls and urban furniture may be illegal should artists not ask for official permission before creating the work. However, artworks are regarded as legal should the work be commissioned by a private individual or public institution. If commissioned, the private individual or public institution is legally the owner of the work and may decide, in accordance with any applicable law, the best way to carry out any restoration deemed necessary. The communicative and sociological worth of illegal works lies in their being created in specific parts of a city, urban areas which find themselves at the heart of some particular issue. These works must be created in situ so as to enhance their socio-political impact and the same works created elsewhere would lose their semantic meaning. [ABSTRACT FROM AUTHOR]

This article is devoted to the study of the phenomenon of "patriotic graffiti" in the aspect of a new ideological public imagery formation; also the questions of expropriation tactics of street art and the term "graffiti" are considered. "Patriotic graffiti" apparition caused great public and media response: media publications, online publications, stories and entire programs on TV, and the status of discussion on the social networks. At the same time, this scientific socio-cultural phenomenon was outside the scope of research interests. Also the image of street art as an independent people's statements; murals as the most democratic form of retransmission and fast images; effective forms of representation of the image; popularity of street art on the Internet; the common use of the term "graffiti" in respect of all non-classical contemporary murals were considered. Methods While writing this paper the following methods were used: A method of historical periodization, systematic and structural approach, comparative method, methods of dialectics (the principle of historical and logical approach), which allow to reflect the extremely complex and contradictory processes of material and spiritual world. [ABSTRACT FROM AUTHOR]