Guerilla art, social value and absent heritage fabric

Harris, Jennifer

doi:10.1080/13527258.2010.535212

Cited by 5 publications

(4 citation statements)

References 8 publications

(4 reference statements)

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“…Such representations of intangible heritage must, in the words of Dalziell and Genoni (2015: 52), ‘become nomadic, alighting in new contexts, new archives, where they accumulate a range of data and stories’, and if we are to commit ourselves to street art’s classification as something intangible, then we must understand its influence as far greater than the materiality of its external form. This value resides instead within the negative space created by street art’s ‘social value’ (Harris, 2011): that uncontainable void whose circulation of discourse retains the voices and memories of experiences otherwise forgotten by its tangible digitization.…”

Section: Resultsmentioning

confidence: 99%

Pics or it didn’t happen: The artwork formerly known as heritage in Google Street Art

Isaac

2017

Convergence

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In 2014, Google announced a new initiative for its Cultural Institute. Called the Street Art Project, the online database was seen by many (Google included) as a continuation of the Google Art Project, in that it sought to make street art from around the world more easily accessible to interested audiences. The company acknowledged that such art was temporary, and that, by virtue of the artwork’s eventual disappearance, it would eventually become an important record of preservation for the practice. However, in its focus on the physical artwork, the project unwittingly highlights a problematic trend in street art’s protection as intangible heritage: one where its safeguard often becomes overpowered by the tangibility of its material elements. Exploring Google Street Art through the lens of Melbourne, a city that has long negotiated with street art and graffiti as forms of cultural heritage, this article outlines the consequences of such tangibility for the intangible artwork. It argues that any protection of intangible heritage requires a tacit acknowledgement of the subjectivity which surrounds its experience: those community reactions and responses whose wide variability help define that heritage as something intangible.

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Section: Resultsmentioning

confidence: 99%

Pics or it didn’t happen: The artwork formerly known as heritage in Google Street Art

Isaac

2017

Convergence

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“…Murals cover both elevations of the North Street Arcade, and while these changed periodically (Extramural Activity 2020), the one commemorating 10 years after the fire remained on site at the time of writing this paper. Along with other guerrilla art practices, street art that is place specific can draw attention to heritage places and enrich their meaning (Harris 2011;Mulchany & Flessas 2018;Nomeikaite 2019). Indeed, depicting a phoenix rising from its ashes, the mural represents some of the symbolic meanings artists and activists ascribed to the arcade (Figure 8).…”

Section: Establishing Social Value Through Cultural Practicesmentioning

confidence: 99%

Assessing the social values of historic shopping arcades: building biographies

Skoura,

Madden

2023

B&C

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Social value has a long academic tradition in the field of heritage studies, and while it has become part of heritage management, expert-driven intrinsic values still dominate the conservation policy and practice. This paper explores the use of building biographies as a way to assess, illustrate and record the social value of shopping arcades. A case study of the North Street Arcade in Belfast, Northern Ireland, is used to explore how building biographies can contribute bottom-up evidence to top-down value-based approaches of architectural conservation. The North Street Arcade is a listed shopping arcade that has been lying vacant and derelict for the last 30 years awaiting demolition and redevelopment. Archival documents, historic photographs, news reports and documentaries, interviews and anthropology were combined to compile the arcade’s biography. Allowing the combination of positivist and interpretive approaches, as well as merging community and expert voices, building biographies can produce localised and inclusive heritage narratives that accentuate the many dimensions of social value that different publics ascribe to built heritage. Policy relevance Although social value has become part of heritage management, expert-driven values still dominate the conservation policy and practice. The inclusion of social value in the statutory criteria for listing could afford heritage protection to places that are highly valued by local communities, thereby encompassing places that do not fulfil the architectural and historic criteria. This article explores the use of building biographies as a way to assess, illustrate and record the social value of shopping arcades. The building biography is an approach that combines qualitative methods deriving from anthropology and sociology with historical and architectural analysis, and can be used to highlight the link between people and places, as well as their ever-changing cultural context. This paper illustrates how building biographies can contribute bottom-up evidence to top-down value-based approaches of architectural conservation and highlight the social value of shopping arcades.

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“…Guerilla art is street art that often raises attention about a political issue for example graffiti such as the work of Banksy in the UK. It can be about reclaiming public space, making a statement in urban areas that are often surrounded with commercial advertising (Harris, 2011). So the combination, according to Lothian (2018), creates making handmade crafts, leaving them anonymously in towns and cities around the world where they will be found as 'gifts' to bring cheer, kindness and pleasure to the finder.…”

Section: Motivations To Engagementioning

confidence: 99%