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Със своята дълга история, графитите варират между просто изписани думи до сложни стенни картини. Примери за тях могат да бъдат открити още в древността по целия свят. Някои учени дори допускат, че пещерните рисунки са примери за графити в най-общата им дефиниция. Други смятат, че примери за графити има в древен Помпей, а по-късно през средновековието, по екстериорните стени на църкви и катедрали. Както казва Калеб Нийлон, откакто е имало хора и стени, е имало и кой да пише върху тях. With its long history, graffiti varies between very simple written words and exteemly complex wall paintings. We can find examples of these in ancient times all over the world. Some scholars assume cave paintings as examples of graffiti in their most general definition. Other think that samples of graffiti can be find in ancient Pompei and later in the Middle Ages on the exterior walls of churches and cathedrals. As Kaleb Neelon says, since there were people and walls, there was someone who wrote on them.

Със своята дълга история, графитите варират между просто изписани думи до сложни стенни картини. Примери за тях могат да бъдат открити още в древността по целия свят. Някои учени дори допускат, че пещерните рисунки са примери за графити в най-общата им дефиниция. Други смятат, че примери за графити има в древен Помпей, а по-късно през средновековието, по екстериорните стени на църкви и катедрали. Както казва Калеб Нийлон, откакто е имало хора и стени, е имало и кой да пише върху тях.

Par amitié et par sincère intérêt pour la photographie, Jacques Prévert a contribué après-guerre à promouvoir le travail de nombreux photographes. Ce faisant, il a été, sans le vouloir, l’un des artisans de l’accession de la photographie au rang d’œuvre d’art autonome et intangible. Une sacralisation à l’opposé de ses propres conceptions et usage de la photographie, qu’en collagiste et héritier des avant-gardes, il abordait comme élément d’échanges artistiques libres, spontanés et multiformes.

Définir le street art est aujourd’hui une question très complexe tant l’on range sous cette appellation des formes d’art (ou de non-art ?) qui n’ont finalement en commun que le fait d’avoir été aux origines produites in situ, « dans la rue ». Une lecture de la diversité de ces productions, des époques les plus reculées à l’explosion des collages, pochoirs et autres graffitis comme de leurs corollaires depuis les années 1960, justifiera l’ambiguïté de la question posée dans notre titre. Cette ambiguïté est accentuée par les deux mots « art » et « street » accolés dans une appellation générique floue qui nous force à nous interroger sur les concepts d’art, de low art, de high art, d’artification, de perte de sens du fait de la reconnaissance institutionnelle et marchande de pratiques tout d’abord considérées comme des actes délictueux et donc condamnables par la loi. To give a definition of what one calls « street art » today is a very complex issue because one ranks under this name some art (or no-art ?) forms that ultimately just had in common the fact of being produced in situ, « in the street ». A reading of the diversity of these productions, from the earliest times until the explosion of « collages », « stencils » and other « graffiti » as well as of their corollaries since the 1960s will justify the ambiguity of the question in our title. This ambiguity is heightened by the two words « art » and « street » joined in a vague generic term that forces us to ask ourselves the concepts of « art », « low art », « high art », « ratification », and of the loss of sense because of the institutional and market recognition of those practices initially considered as criminal acts and therefore condemnable by law.

Orientador: Fábio Nauras Akhras Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes Resumo: Esta pesquisa lança um olhar sobre as cidades pela realização sistemática de ensaios fotográficos, como forma de investigação e de busca do domínio da linguagem. Focando compreender questões inerentes à fotografia foi estudado o ingresso de Gyula Halász - Brassaï no universo fotográfico e sua trajetória de criação no livro Paris de Nuit. Em paralelo à pesquisa documental ocorreu a captura de imagens em cidades diversas. Há o desejo de se estabelecer um diálogo entre os ensaios fotográficos por mim realizados e a obra objeto de estudo. Os resultados das investigações documentais, dos conhecimentos construídos e das conexões geradas pelos processos criativos figuram nesta dissertação, de maneira ensaística, no formato de um livro de fotografias Abstract: This research provides a glimpse of the cities depicted through the persistent presentation of photographs as a mean of investigation and contruction of knowledge. By focusing on trying to better understand the many questions related to photography I dove deeply into the process of insertion in the universe of photography exeprienced by Gyula Halasz-Brassai and the methods of creation of Paris de Nuit. Parallel to the extensive research on his work I also inserted my own taskings of photo images of several cities. Thus, I have expressed my interest in promoting a dialogue between my own essays and the work of this master. The results of the investigation of his work, the documents collated and the connections and learnings acquired in the process are presented in this essay as a photo book Mestrado Multimeios Mestra em Multimeios CAPES

To give a definition of what one calls « street art » today is a very complex issue because one ranks under this name some art (or no-art ?) forms that ultimately just had in common the fact of being produced in situ, « in the street ». A reading of the diversity of these productions, from the earliest times until the explosion of « collages », « stencils » and other « graffiti » as well as of their corollaries since the 1960s will justify the ambiguity of the question in our title. This ambiguity is heightened by the two words « art » and « street » joined in a vague generic term that forces us to ask ourselves the concepts of « art », « low art », « high art », « ratification », and of the loss of sense because of the institutional and market recognition of those practices initially considered as criminal acts and therefore condemnable by law.; Définir le street art est aujourd’hui une question très complexe tant l’on range sous cette appellation des formes d’art (ou de non-art ?) qui n’ont finalement en commun que le fait d’avoir été aux origines produites in situ, « dans la rue ». Une lecture de la diversité de ces productions, des époques les plus reculées à l’explosion des collages, pochoirs et autres graffitis comme de leurs corollaires depuis les années 1960, justifiera l’ambiguïté de la question posée dans notre titre. Cette ambiguïté est accentuée par les deux mots « art » et « street » accolés dans une appellation générique floue qui nous force à nous interroger sur les concepts d’art, de low art, de high art, d’artification, de perte de sens du fait de la reconnaissance institutionnelle et marchande de pratiques tout d’abord considérées comme des actes délictueux et donc condamnables par la loi.

International audience

Photographers from abroad in France during the inter-war period. Between the two wars, many foreigners settled in France. The artists amongst them come from countries which are not representative of the countries of immigrants’ origins as a whole. Where photographers are concerned, a quarter come from Germany and another quarter from Hungary, fleeing the political situation after Admiral Horty’s seizure of power. These Hungarian photographers often came from avant-garde milieux, and they had a far-reaching influence on French photography which, for many years, has gone unrecognized., Wanaverbecq Annie-laure. Les photographes étrangers dans la France de l’entre-deux-guerres. In: Histoire de l'art, N°15, 1991. Varia. pp. 61-77.

International audience