Graffiti "Window to Europe", Tsesarevich embankment, Vladivostok, 2012. Concrete Jungle arch-bureau (founders: Felix Mashkov and Vadim Gerasimenko).

The time when graffiti was considered vandalism has sunk into a dark past. Today street artists have taken a well-deserved place on the pedestal of contemporary art. City officials, who previously chased authors to punish them to the fullest extent of the law, are now queuing up to sign contracts to design public spaces. Street artists not only make our cities beautiful and interesting, they are often able to rethink the existing urban landscape, change the architectural context.

Following the great names of the founders of street art - (Keith Haring), (Banksy) and (Jean-Michel Basquiat), a huge number of artists took to the streets to paint everything that came to their hand. Street artists themselves believe that it was high time for art to be released from museums onto the street. And although it is difficult to drive the typology of contemporary art into a strict framework (post-graffiti, "intervention", muralism, etc.), the only thing that city dwellers and tourists want are entertainment, scale, aesthetics, philosophical message and bright colors. This is what the viewer gets from the street artist.

Especially for our readers, we tell you about the biggest names in the world of modern street art and invite you to enjoy a selection of the most spectacular street art projects.

Painted Lampas

Calligraphy with an area of \u200b\u200b1,625 sq. meters took the artist two days of work and demanded 730 liters of paint.

Artist Arseny Pyzhenkov, originally from Korolev, is known worldwide as (Pokras Lampas). The funny now is no longer a pseudonym, but an official name, was formed from the old expression "paint" among graffiti artists and the most absurd rhyme to it. Pokras works in the "calligraffiti" style, as the name suggests - at the intersection of graffiti and calligraphy. He is constantly busy with new projects, and on his hands there are traces of fresh paint.

The artist was able to paint the tunnel from the Atrium to the Kursk railway station only half. The reason is that part of it belongs to the shopping center, and part belongs to Russian Railways, and the latter refused to provide their section to Pokras.

He made the artist famous for the project to create the largest calligraphy in Russia (and indeed in the world) on the roof of Krasny Oktyabr in 2015. In 2017, Pokras painted a tunnel from the Kursk railway station to the Atrium shopping center in Moscow, inspired by the works of Russian avant-garde artists, quotes, and Mayakovsky. A high-profile international project in the career of a calligrapher was the painting of the roof of the Palace of Italian Civilization (Palazzo Della Civilta) in Rome, which is also the headquarters.

“It is important that creativity does not turn into a craft. The main thing is to trust your intuition and do only what you truly believe in. Honest creativity will always be appreciated ”, - Pokras Lampas.

Duo Aesthetics

The Moscow Region post-graffiti duo Aesthetics group has existed since 2004. The composition of the participants and the concept changed over time, at the moment they are Petro (Petr Gerasimenko) and Slak (Ilya Blinov).

Collaboration of Petro and Slak in the framework of the pilot project of the "Objects of Nature" festival. Aerosol paint. Kotka (Finland), 2014.

The team has gone from classical graffiti to mixing it with abstract painting. Artists work at the intersection of avant-garde and graffiti, the author's style is expressed in rich colors and broken lines.

Untitled diptych. The left side is Slak, the right side is Petro. Spray paint, acrylic. Satka, Chelyabinsk region, 2017.

Misha Most

Moscow artist Misha Most has been doing graffiti since 1997 and has been creating paintings since 2004. The author quickly moved from the category of "street authors" to full-fledged artists. Almost all of the author's works are devoted to the human future.

In 2017, the artist created the largest wall painting in the world on an area of \u200b\u200b10 thousand square meters. meters. The building of an industrial complex in the city of Vyksa (Nizhny Novgorod region) became the canvas for the work "Evolution 2.1".

"Evolution 2.1", Vyksa, Nizhny Novgorod region, 2017.

In the fall of the same year, Misha taught how to draw a drone. It was based on the "creation of a painting without an artist" approach. Drones are widespread these days, people are constantly training devices to do something new. And the artist decided to bring this "something new" into art.

The Farewell to Eternal Youth project consisted of several stages. To begin with, Misha drew an object on a tablet, then the image was transferred to a special program, through which the drone "flies". Then, to get the finished piece, you just had to press a button - the machine did the rest.

Farewell to Eternal Youth: Misha Most and a drone.

Camilla Valala

Generally a British artist (Camille Walala) by profession a fabric designer. But the education she received never really captured her. Recently, Camilla has been actively invited to decorate concrete boxes, unremarkable facades and pedestrian crossings.

Splice Post Building, London.

Valala works on the edge of contemporary art and architecture, infusing energy and optimism into the environment with vibrant colors and ornaments. The group had a huge influence on the artist's work.

Children's playground in London.

It was in the style of this design association that the author decorated the facade of an industrial building in Brooklyn with a 40-meter painting. The concept is based on optical illusions, contrasting colors and repeating L-shaped motifs.

Facade in the spirit of the "Memphis" group, Brooklyn (New York).

Felice Varini

The canvas of a Swiss by birth and an inveterate Parisian in his place of residence (Felice Varini) is architecture itself. The artist is famous for his signature optical illusions. The author's works are captured on the walls of buildings and sidewalks, in parks and squares.

Carcassonne, France, 2018.

At first glance, the image created by Varini is not perceived as a whole, it disintegrates into separate fragments. And only from a certain "correct" point of view, the ornament develops into a holistic image. Varini's works look so unreal that the first reaction of the human brain: "This is Photoshop!"

Lausanne, Switzerland, 2015.

Grand Palais, Paris, France, 2013.

The genre that Varini chose for himself is called anamorphosis. The main theme creativity became geometry - a variety of regular shapes: circles, triangles, rectangles. Varini's works are similar to mirages in the desert: here a person observes a hypnotic spectacle and suddenly, one wrong movement, and the vision dissolves.

Roof of "Housing Unit" Le Corbusier, Marseille, France, 2016.

Ill-Studio

The artists, in collaboration with the fashion brand Pigalle, have revolutionized the look of the basketball court in Paris. In 2015, the sports facility dressed in sharp colors and clear geometric shapes inspired by the work of Kazimir Malevich.

The Pigalle Duperré site in Paris is sandwiched in a narrow space between houses, 2015.

In 2017, the studio turned to softer, but no less spectacular gradient shades. “Working on this site, we wanted to explore the relationship that has developed between sports, art and culture over many decades,” - say the authors of the project.

Pigalle Duperré site, Paris, 2017.

The project of a bright basketball court was widely discussed on the Internet around the world. The modern generation of Instagram clearly liked the space. Of course, this is not the only sports facility that has such a non-standard color. For example, in the Belgian city of Aalst, artist Katrien Vanderlinden worked on the transformation of another basketball court. The bright surface looks as impressive as possible from the altitude of the drone flight.

Basketball court, Aalst, Katrin Vanderlinden.

And in Ravenna, Italy, another basketball court revived the urban environment. The update was handled by street artist Gue.

Basketball court, Ravenna, street entertainer Gue.

Daniel Buren

The work of the French conceptual artist (Daniel Buren) has a permanent element - the strip. It is interesting that the author found the conceptual theme thanks to chance. Once on the canvases he ordered, traces of packaging remained - stripes that filled all of his work, regardless of the context.

Shadows through Daniel Buren's colored glass are like works of art.

From the canvas, the Frenchman moves to the urban environment - he marks the metro stations, courtyards of Paris with stripes. Since the 70s, the artist has been working with multi-colored glass and light. He turns the windows of buildings into stained-glass windows and studies the shadows they cast. Together with the Italian gallery Continua, Buren created a large-scale installation right on the facade of the Parisian gallery Aveline in the corporate style - with vertical monochrome stripes and stained glass.

Gallery Aveline, Paris, Daniel Buren.

Chantelle Martin

The style of the young British artist (Shantell Martin) is easily recognizable. Chantelle is ready to decorate anything with black and white sweeping drawings - paint the city walls or decorate a new collection of shoes or clothes.

Over the past few decades, the visual arts have changed almost beyond recognition. It takes new, often very contradictory and unexpected forms, focuses on new problems of society

Over the past few decades, the visual arts have changed almost beyond recognition. It takes on new, often very contradictory and unexpected forms, focuses on new problems of society. Street art, or street art, is currently a showcase for young artists. The most popular, but far from the only one, is graffiti.

Inception

Oddly enough, but street painting was known in the ancient world. By and large, cave paintings can be safely considered the prototype of street art. but modern look this direction acquired only in the middle of the last century, in the USA. Interestingly, the name of the founder of graffiti did not go down in history. Only his pseudonym is known - Taki-183. He worked as a courier, and therefore traveled a lot around New York and left his signature on the walls and fences. Later, the mystery of his identity attracted the attention of reporters. And after the articles in the newspapers, it was only a matter of time before crowds of followers appeared.

European period

By the 90s of the last century, street art began to be gradually recognized as a direction of fine art. It was also adopted by European artists, introducing more and more social themes into their works.

Problems with recognition in society began after drawings began to appear not only on abandoned houses or fences, but also on the walls of buildings of architectural and historical value. In some countries, graffiti and all its varieties are considered an act of vandalism, and therefore prohibited.

Today, society is showing increasing loyalty to street art. This is mainly due to the significant increase in the artistic value of such works. Almanac Artifex.ru, for example, places on its pages the most successful works of domestic and foreign artists... Thus, anyone can personally verify that street art today is a rather complex, conceptual and socially sharp art.

Graffiti often has a bad reputation, but when real artists take over, it turns the city into an absolutely stunning modern place. Graffiti and street art are not always legal, but that rarely stops street artists from showing off their art to others.

IN last years quality street art has become one of the destinations that attracts tourists from all over the world. Street art can tell a whole story about culture and life without a single word. More and more communities are incorporating street art and graffiti into the design of their modern neighborhoods and neighborhoods.

Take a look at the best street art works from around the world:

BERLIN | GERMANY

You can find street art literally everywhere in the German capital. One of the main street art teams in Berlin are three guys from the Mentalgassi team, who have some of the best and unique street art works in the city.

Photo: © URBAN NATION

NEW YORK | USA

For many years now, this city has gathered an incredible number of talented people from all over the world. This makes New York's history and culture unlike any other city.

In recent years, New York City street art artists have flocked to Bushwick, Brooklyn's famous hipster culture. The collection includes many world-famous street art works, from pink Buff Monster drawings to incredibly realistic portraits on the walls of buildings.

Photo: © jorit.it

MEXICO | MEXICO

The capital of Mexico is home to some truly incredible street art. The city has become even more colorful with the advent of the All City Canvas street movement, which includes 9 talented street art artists. Most of the team's work is supported by the City of Mexico City.

VALPARAISO | CHILE

Street art in Valparaiso can be seen in some of the safest tourist areas in the city - Cerro Alegre and Cerro Concepcion.

LONDON | UNITED KINGDOM

Street art in London can be found in many places and in different forms, from colorful graffiti on the walls to giant statues like a blue rooster, placed in Trafalgar Square. To truly immerse yourself in London's street-art culture, be sure to visit the Shoreditch area. A walking tour is also a great option. Alternative London Walking Tours Is one of London's longest street art walking tours.

PRAGUE | CZECH

Prague streets are simply strewn with a variety of drawings. Graffiti in this city is already like a part of culture and one of the main ways of self-expression for young street art artists.

LISBON | PORTUGAL

In 2011, the Crono Project was created in the Portuguese capital, the purpose of which was to decorate abandoned buildings. The best local street art artists got to work.

| BRAZIL

Street art in Rio is more than just drawings on the walls. For some crime-ridden areas, the colored walls have helped attract more tourist interest and, as a result, more attention from city officials.

MELBOURNE | AUSTRALIA

Street art in Melbourne gained its popularity in the 70s and 80s. In those years, inspired by the graffiti culture of New York, local youth literally revolutionized Australian street art.

LODZ | POLAND

PARIS | FRANCE

BARCELONA | SPAIN

Photo: ManuManu

STAVANGER | NORWAY

Photo: Ernest Zacharevic

OZ | FRANCE

Photo: Vinie Graffiti

To begin with, it is worthwhile to clearly define the terminology and definition of the scope of those concepts that will be used in the future in this research work. Of all three terms that will serve as a foundation and basis for research, the term "street art" is difficult to delineate within certain boundaries. Firstly, for the reason that this trend has existed for a relatively short time, therefore, it not only has not acquired its clear definition, but is still not quite in a stable position, balancing between the oppositions "art is not art". Secondly, research achievements have not yet had time to take shape in theories that would be recognized in the scientific field. In connection with the term street art, a large number of delimitations arise in the understanding of the phenomenon itself, since street art is a term that generalizes all types of art that can be placed in an urban environment or be associated with it. Street art (street art) includes such art forms as graffiti, stencils, performances, etc.

“... The genre palette of street art is extremely vague: traditionally, it includes graffiti, stencil or pattern drawing, posting stickers and posters, grandiose wall paintings (murals), enveloping buildings and structures in fabric or fabric, projecting video onto a building or vacant lots, city \u200b\u200bguerrilla, flash mobs, open-air installations and much more ... ". And the list goes on and on, modern media technologies allow creating more and more new trends in street art. The classification of artists and varieties of street art will be presented in the following paragraphs.

To illustrate the ambiguity of this term, it is worth noting the fact that the artists themselves answer the question "what is street art?" radically differently:

“Street art is any art created on the street and within the street. Street art can also be understood as street musicians. ”;

“Graffiti and street art are different types of art. Street art is usually conceptual. ”; “Street art is a dialogue between the artist and the street space.”; “Graffiti (as the media call it) is about letters, names and fonts. Street art is designed to draw public attention to certain ideas through stencils, stickers, posters, installations and more. " From the above definitions, two patterns are visible: the first is that graffiti and street art are different phenomena, they should be distinguished, the second is that street art is most often used in two meanings. On the one hand, this is all art placed in an urban environment, on the other, street art is a special direction of street art that is addressed to the viewer, to society, in order to draw his attention to any problems, issues or topics, such art always contains a concept, an idea. Street art in this work will be considered not as a collective image and a term that would combine all types of street art presented in the urban space. For us, it is not so important to focus on its varieties and forms. Street art in its narrow meaning, as a special kind of street art, will be considered. Any artist wants to evoke emotions and response in the soul of the viewer; much more serious tasks are combined with this desire. Focusing on really important social problems: starving children of Africa, in opposition to them a prosperous urban society, issues of military conflicts, the role of women in society, etc. Street art is always a timely response to current cultural, social and political events. The important thing is not in what form the street art is presented, but what message it conveys to the viewer, how it affects it.

Street art as a direction of contemporary art does not have a definite terminological set, a theoretical basis on which it would be possible to rely in this research work.

Returning to the question of graffiti, we can say that as a direction it gravitates more towards the subcultural environment, towards a certain way of life. The artists themselves say that it is incomprehensible to an ordinary city dweller, he cannot read the cultural and social codes of the message, which are encrypted in graffiti-inscriptions throughout the city.

"Graffiti is a representative activity in the socio-cultural plan, significantly influencing a certain cultural layer." Graffiti is engaged in the reproduction of the same symbol, sign, name, inscription, in this direction it is hardly possible to find any message, idea or concept. Many interpret and perceive street art as post-graffiti, as it were in evolutionary development, graffiti is the progenitor of street art. But in this work, we will not focus on the differences between street art and graffiti. It is not the forms that art takes in the street environment that are important, it is important whether the work is aimed at a dialogue with the urban space and the audience.

“Street art, or otherwise the art of street intervention in all the diversity of its tactical methods and genre forms ... Street art is a pretentious aestheticization of rebellion, rebellion not against individual systemic shortcomings, not against the market corruption of specific cultural characters or institutions, but against everything and everything, against the capitalist way of life, against exploitation, precariousness, racial and class inequality, police violence and arbitrariness of large developers, a steady increase in unemployment and social insecurity, etc. But this is a riot without a program, without intelligible rhetoric and clear addressing, a riot that is occurring spontaneously at the moment and is not shaped into organized resistance ... ”. - such a view of street art is expressed by Dmitry Golynko-Wolfson in his article "Street Art: Theory and Practice of Living in a Street Environment". Of course, rebellion is in some sense indistinguishable from street art, it is not necessarily a struggle against the authorities or the law, more often it is a struggle against the entire system as a whole, an attempt to go beyond this system. It should be said that street art should not support such protests and such flirting with the authorities, as a result of which people may die or suffer. An artist, instigating a riot, must think about the consequences. All "diseases" of society crystallize in street art, this is definitely a problematic and controversial art, this is one of the "channels" for the release of accumulated questions, indignations and indignations. With the help of art, one can single out a particular problem, focus attention on it, but it is impossible to solve it with such methods. Spanish artist Isaac Cordal believes that street art and graffiti are the skin of the city, its shell, by which one can judge the state of society, it is definitely worth agreeing with this.

When starting to examine the history of street art and graffiti in Russia, one should turn to the history of the origin, appearance and development of these directions abroad, especially in the USA and Europe. Based on and generalizing the opinions of researchers dealing with the historical side of the issue, we can say that the appearance of graffiti dates back to the late 1960s in the United States. Namely, graffiti was originally formed in Philadelphia, and then moved to New York. Initially, graffiti was of a purely utilitarian nature, used to delimit the territory between the marginal layers of society and its criminals. In fact, graffiti as a method of application has existed since very ancient and ancient times, we can say that rock painting is already the first graffiti.

Back in the distant 1930s, the French artist Brassay finds and takes pictures of drawings that are hollowed out on the facades of buildings, which refers us to rock paintings. This kind of rudiments of street art are unconscious in nature, this is seen as a manifestation of subconscious desires and energy. Graffiti of the 30-40s is primitive, irrational, naive like drawings of children or mentally ill people.

If we talk about the tools that allow you to create graffiti in the modern sense, they appear in 1949, namely, Robert Abplanalp invents a modern spray valve. In the same year, Edward Seymour starts the production of spray paint. In the USSR in 1970 in Latvia, in the city of Riga, the company "LatvBytKhim" was founded - the largest manufacturer of household chemicals in the Soviet Union. This enterprise also produced spray paint limited to three colors. After the collapse of the USSR, this enterprise ceases to exist.

Then street art is still developing in France within the framework of Situationism, the ideological movement of Guy Debord and Raoul Vaneigem. Their ideas were in opposition to the "spectacle society" based on consumption, capitalism, utilitarianism and urbanism. This movement, in the form of slogans, leaflets and posters, penetrates Paris in 1968. A lot of ideas from that period were drawn to urban space. Guy Debord introduces the concept of "Psychogeography", in which he focuses on the emotional component of urban places, and Ivan Shcheglov in his manifesto formulates a number utopian ideas in the "Formulary of a New Urbanism". In the future, this kind of ideas and this direction will develop within the framework of post-situationism, in which it is worth noting Ernest Pignon-Ernest and Gerard Zlotikamen. These figures influenced the formation and development of a street poster school in France. This period was strongly associated with the political and social situations in the country, which found a response in the work of artists. Even before the penetration of graffiti into the United States in the form of a subculture, graffiti made with spray paint appeared in France in the 1970s.

In the 80s, French street art changed the course of its development towards the struggle with the then education system, the commercialization of art, the struggle with the art system that developed at that time.

In the 70s, Harald Naegeli, who lives in Switzerland, is active in the field of street art. Then he emigrates to Germany, where he continues to pursue a previously started direction.

But it was precisely in the postwar years in America that it became a cultural phenomenon of the urban environment. Then, thanks to graffiti, people were engaged in a kind of self-promotion - they replicated their names and nicknames on various surfaces. Every graffiti writer is interested in having his name seen by as many people as possible every day, which is why they were mostly focused on the subway, which thousands of citizens descend every day. This is associated with the emergence of such a direction as training - graffiti, applied to subway trains, suburban traffic and long-distance travel. The mechanisms for combating this kind of graffiti were developed by the New York authorities, they did not release painted trains on flights, but immediately sent them for repainting, then there was no point for the writer, because no one had time to see his drawing. There is also the most durable - this is freewriting - drawing on freight cars, from which drawings may not be removed for years.

In France and the United States, the appearance of graffiti and street art is mainly associated with the 1960s, this is due to a number of social and cultural factors: on the one hand, the post-war high unemployment rate, which indicates the availability of free time, also during this period others begin to emerge. subcultural groups, which was also a kind of catalyst, panel development of cities, and, accordingly, the formation of backward and disadvantaged areas in cities, the flourishing of mass culture.

French philosopher Jean Baudrillard reflects in his work Symbolic Exchange and Death on the phenomenon of graffiti that swept New York in those years. He ascribes to graffiti tags the status of a symbol, sign, indicates the isolation of the emerging subculture and an attack on the viewer, like a coded system, incomprehensible to everyone, but quite aggressive, persistent and influential. “… Graffiti has no content, no message. This emptiness forms their strength. It is no coincidence that a total offensive at the level of form is accompanied by a retreat of content. This follows from revolutionary intuition - the guesses that the underlying ideology now functions not at the level of political signifiers, but at the level of signifiers, and that it is from this side that the system is most vulnerable and must be destroyed. This is how the political significance of graffiti becomes clear. " Street art, on the other hand, moves away from the emptiness of graffiti and the lack of communication, the power of street art already lies in the ability to broadcast certain ideas and meanings important for society to a large number of citizens in the urban space.

Jean Baudrillard also says that "graffiti was a new type of performance on the stage of a city - a city no longer as a concentration of economic and political power, but as a space / time of the terrorist power of the media, signs of the dominant culture." Continuing the tradition of graffiti, street art is a kind of statement and counterbalance to both the economic side and the political side of life, street art continues to struggle with the dominant mass culture - the media, advertising.

“Speeches against semiocracy, this newest form of the law of value - the total mutual substitution of elements within the framework of a functional whole, where each element is comprehended only as a structural variable subordinate to the code. These are, for example, graffiti. Indeed, in such conditions, it is already becoming a radical rebellion to declare: "I exist ...". Street art is less claiming to be the authors' statement about its existence or being in the urban space, moving away from the rebellious spirit of graffiti, but it also continues to struggle with interchangeable parts of the city, street art itself makes any place unique, impossible to replace it with such the same element in the space of the city.

“Graffiti is trying to confuse the usual naming system, to destroy the framework of the usual everyday urban environment. Graffiti goes against all the advertising and media signs that fill the walls of our cities and can create a deceptive impression of the same spells. Advertising was associated with a holiday: without it, the urban environment would be dull. But in reality it is only a cold vivacity, a simulacrum of invocation and warmth, it does not give a sign to anyone, cannot be picked up by an autonomous or collective reading, does not create a symbolic network. " Street art, as well as graffiti, tends to confuse the system of city names, common everyday practices. Interventions can serve as a striking example in this regard. Urban interventions should be understood as visualized statements made in a public space out of a feeling of deep personal dissatisfaction with some aspects of city life or because of deep dissatisfaction with some aspects of the entire world order, the structure of society, etc. Moreover, the interventions are aimed at using the existing urban resources: road signs, markings, traffic lights, telephone booths, etc.

French researcher J. Baudrillard also in his book considered the problem of "legalized street art", which was an initiative of the city, and specifically the New York City Walls project:

“… Everything is not ambiguous: we have an environmental policy, large-scale urban design - both the city and the art will benefit from it. The whole city becomes an art gallery, art finds itself a new field for maneuver in the city. Neither the city nor the art changed their structure, they only exchanged their privileges. Such street art plays with architecture, but does not break the rules of the game. They re-use architecture in the imaginary sphere, but preserve its sacred character (architecture as a technical material and as a monumental structure, not excluding its social and class aspect, since most of these City Walls are located in the “white”, well-maintained part of cities). However, architecture and urban landscaping, even transformed by the imagination, cannot change anything, since they are the very essence of the media, and even in their most daring designs they reproduce mass social relations, that is, they do not give people the opportunity to collectively respond ”12. This is a good example of the fact that the initiative of the city does not always look worthy; rather, in this case it is perceived as pretended and naive, inseparable from the entire monolith of the urban space, which gives rise to a number of problems in the perception of street art by New Yorkers. The negative point is the lack of feedback and decision-making on the initiative of the city authorities, the media unilaterally. This example shows that the breakdown of connections between three actors: the government, citizens and artists creates a number of problems.

Also, researcher J. Baudrillard says that, evaluating street art with standard aesthetic criteria, we can talk about some of its weakness. For all its spontaneity, collectivity and anonymity, it still correlates with its material carriers and with the language of painting. Therefore, there is a danger that it will become only decorative piece, will admire only its artistic value.

Then some evolution is outlined, the development of graffiti, and by the 1970s, artists who paint on the streets for the first time began to be invited to participate in exhibitions, these were the first steps to "legitimize" graffiti, to perceive it as art. The issue of street art and graffiti placement has been puzzled by many since those times. In Europe in the 1980s, graffiti is just being established, while it is closely associated with hip-hop culture. It is worth noting two cult movies that were catalysts for the spread of graffiti around the world - "Wild Style", "Style Wars". An iconic book for the subcultural environment is Subway Art, which was published in London. This geographic displacement is associated with increased penalties in the 1980s in New York. In Europe, in the early 80s, the state authorities treated the inscriptions as childish pampering and did not pay attention to it. And already in the 1990s, completely new form, a new urban language, with its imagery and symbolism - "post-graffiti", this term can be seen in many researchers. The question arises whether it is possible to equate street art and post-graffiti? This is possible only if the post-graffiti is oriented towards the viewer and addressed to him, at the beginning of its appearance, the graffiti did not have the goal of communicating and building a dialogue with the viewer, but when the connection with the viewer is established, then we can talk about post- graffiti and its next stage of development - street art.

There is a connection between the emergence of creative industries and street art, the conditions of education were similar: the beginning of the development of mass communications, the withering away of industrial orders and the emergence of post-industrial conditions, the beginning of globalization processes, the dominance of mass culture, etc.

Graffiti, as well as street art, was influenced by prior art movements such as Futurism, Suprematism, Dadaism, Surrealism, especially French Surrealism of the 1920s.

In fact, back in 1918, the futurists had decrees on the transfer of art and creativity to street space, poster and slogan art in the USSR, in part such ideas can be ranked as street art, but rather it acts as protoforms.

If we talk about Russia, graffiti began to penetrate from the West only in the late 1980s and 1990s. In the beginning, it is established rather in the form of a subcultural basis. Thanks to the development of hip-hop culture, graffiti began to spread rapidly throughout the world and in the mid-1980s, graffiti reached the USSR. The appearance of graffiti in our country is associated with the political thaw of the 1980s, when the Iron Curtain began to gradually "open" and young people became interested in the culture that had already been developed abroad. In 1985, a fashion for breakdancing and hip-hop culture in general, of which graffiti was a part, appeared in our country. The first artists were dancers, who also painted graffiti and decorated the scenery of numerous break festivals that were held throughout the country. At the same time, wall graffiti began to appear in Kaliningrad and Riga, where they were established quickly enough. The first pioneers were the Riga Rat - from Riga and Max Navigator from Kaliningrad. This all refers to the first wave of graffiti in our country, then there was a break, which was associated with the collapse of the USSR. The geography of the distribution of graffiti was as follows: Riga - the Baltic States - Kaliningrad - St. Petersburg - Moscow.

The second wave of graffiti came to Russia in the mid-1990s, all also thanks to the festivals: Snikers Urbania, Adidas Street Ball Challenge, Nescafe festival in Moscow. This kind of emergence has been associated with the commerce and marketing of companies. Western manufacturers entered the Russian market and began to promote their products, hold promotions, and attract young people. Among the writers of the second wave, one can note - from Moscow: Shaman, Worm, Zmogk, Mark, in St. Petersburg: Fuze, SPP team, Yankee, Zaaf, Sclerosis and others. In the late 90s, with the development of the Internet, information became more accessible, and the development of graffiti became widespread. In 2001 the first graffiti magazine "Spray it" was published, it was started by the SPP team.

During this period, teams for writers become a kind of family, in which they begin to find shelter, protection and similar ideas and thoughts. The emergence of graffiti at the beginning was dispersed and had a low rate; Europe is becoming the center of imitation. Writers do not separate street art and graffiti from their life, from their way of thinking, for them it is a whole world - with certain people, places, enemies and familiar attributes of the urban environment. Firstly

graffiti and street art were a way of life, creativity, inner world, part of the artists themselves and a means of self-expression. For graffiti, an important indicator is not even the quality, style or plot, but the ability to combine all this with the speed of application. Also, at the beginning of its formation, graffiti was more protesting, more subculturally expressed features were inherent in it.

“The special development of street art begins precisely in the 2000s, this is due to a number of factors. The close attention to street art in the 2000s is associated with the exhaustion and routineization of the systemic field of art and the demand for an extra-systemic avant-garde, exhibited not in traditional museum and gallery venues, but in unexpected urban areas, as a rule, not endowed with a stable cultural status. Such a non-systemic avant-garde deliberately opposes itself to both the commercial mainstream and the art of political activism, with their focus on their own resources of institutional support and cultural audience. In the 2000s, “contemporary art” in its systemic hypostasis often ceases to be identified with intense intellectual work, the industry of knowledge production or new subversive meanings, being reduced to a set of individual strategies for interacting with the prevailing trends. And street art, which implies a radical rejection of being included in the mainstream cultural process, has become its non-systemic alternative. The millennials discovered in street art the same inexhaustible potential for renewal as the previous generation in the art of new technologies, designed to transform traditional codes of visual representation through electronic media. "

Such an opinion on the exhaustion and routineization of art at the beginning of the 2000s takes place, it seems important to search for new surfaces and territories for the development of modern art - it is realized in the street space. Then it was a completely new direction of art, opposing itself to the systemic order and ideas, of course, street art is associated with the search for new ways of artists' self-expression. Also, one cannot ignore the fact that along with this trend, it is possible to borrow an idea from the West, the very idea of \u200b\u200bstreet art.

Also, one cannot ignore those mechanisms of borrowing from abroad of various trends that have existed and exist in many areas. The catalyst for these processes was the presence of a common information field and the Internet, which simplified the spread and emergence of street art in Russia.

"Street art asserts the primacy of the social function of art, it also removes art from its traditional museum and gallery space and moves it into the living and unpredictable context of the street." ... This is true in relation to the two main features of street art, street art currently concentrates on social issues and problems, but in relation to the museum space, the trends are slightly transformed, street art combines artistic and social. If at the beginning of its appearance in Russia street art was completely abstracted from the museum space, art market, galleries, commerce, now there is a split into two camps. Many artists understand and accept the rules for the existence of a capitalist society.

“Although at times street art addresses the traumatic aspects of collective memory, in most cases it works with contemporary modernity. Essentially, street art creates design modern life, performed not by professional, specially trained developers of the urban environment, but by the efforts of nameless self-taught people who treat the urban environment as a testing ground for terrorizing the bourgeois with annoying images. Depending on whether this design is dominated by a protest or entertainment component, one can speak of either political street art or its advertising and commercial version (for example, in Berlin of the 2000s, street art becomes the object of expensive tourist excursions, and many street artists cooperate with corporations in the production and promotion of brands) ".

“Identifies the two most likely prospects for further socio-cultural development of street art. Either it will remain a means of individual self-expression and the implementation of private career initiatives, or it will grow into a mass liberation movement, become a platform for the solidarity struggle of the multitudes to regain their common good, city streets and the entire urban living space. " You can trace a certain exit and appearance of street art from the graffiti sphere. Also, such a movement is possible in other areas: design, illustration, contemporary art in galleries and art markets. The direction of this kind of movement goes in two directions: from graffiti to other areas or from different areas to street art, graffiti. But most often it is impossible to draw a clear line, these spheres simultaneously interact and coexist with each other.

There is an agreement among artists not to paint on monuments and significant cultural objects. There is an unspoken code, an agreement, but this is all very subjective, adequate people understand that it is impossible to draw on the Pushkin monument, libraries, etc. If writers, artists violate these unspoken rules, then they are very strongly condemned within the community of artists and writers.

Street art is associated with various fields: graffiti, contemporary art, creativity, design, popular culture, marketing and branding.

Most often in street art, artists use recognizable symbols and images.

At this point in time, street art is more perceived by the audience not live, but through the Internet space. The Internet is becoming a new platform for the development and dissemination of street art.

The formation of street art was influenced by different directions and factors - propaganda, advertising, situationalism, muralism, monumental art of the USSR, public art, the appearance of graffiti was influenced by other factors, which distinguishes these two directions in their essence and in their purpose. At the same time, one cannot ignore the fact that many artists grew up and emerged from the graffiti writing environment, which leaves a certain impact on their work. Many street artists were graffiti writers and some of them in their works continue to replicate a certain image that only informs about belonging to a particular author. For the most part, for such artists, the urban environment itself and the context in which their works are placed are unimportant. A distinctive feature of graffiti artists is that they don't care where to replicate their pseudonym, the main thing is that it is as noticeable as possible. Many artists do not always feel responsible for what they post in the urban space.

Popular street artists become brands, they are beginning to be appreciated not so much for their creativity, but for their loud and popular name... In this case, viewers cease to evaluate the work of such writers critically. The prevailing conditions and the popularity of such artists may not allow them to develop further in their work.

Most street artists are not focused on theory and are only interested in practice. Not every artist thinks about why he does it, what exactly he wants to say with his work and what he puts into it. This is very different contemporary artists from figures of the past who wrote manifestos, developed theories, published books. Contemporary street artists simply paint their work and then post it in the virtual space.

The artistic trends of the twentieth century possessed a certain ideology, while, to some extent, denying the previous experience of the art of the past. Thus, the artists tried to bring something new, to break all the old, to show that time has changed, and art must also transform with it. And in comparison with this, the street art of today does not have such a pronounced ideology and does not try to bring something radically new, street artists do not try to destroy everything that came before them. On the contrary, they try, consciously or not consciously, to draw inspiration from completely different artistic directions and trends. And you can often trace some kind of connection between the art of the past and the present and the work of street artists.

Street art has become so popular because most often it is more accessible to viewers both physically - being present in street space, in virtual space, and in content.

It should be noted that now graffiti and street art are fashionable labels that are successfully exploited by corporations and brands, the state and other institutions.

At the moment, street art lacks professional critics and theorists, especially in Russia, who could competently evaluate the works of artists, who could set some kind of benchmark for viewers, by which they, in turn, could evaluate the quality and content. this or that work. It is difficult for viewers to evaluate street art based on previously acquired fundamental knowledge.

One of the main questions still remains unanswered: can everyone who draws on the street be called artists? This question worries street writers themselves, as there is no definite answer to it yet.

Summing up, we can say that valuable are those works to which one would like to return and find in them again and again something new, valuable and excellent. For street art in this perspective, unambiguity, the absence of ambiguous reading is dangerous. Graffiti and street art have already become part of contemporary art, but only best works and authors.

Instructions

On the one hand, the art of street art, at its core, is designed to resist the aggressive urban environment, on the other hand, without the aggression of a modern city, street art itself would not have arisen.

Street art grew out of street tags, which, in turn, in the late 60s of the last century in Philadelphia (USA) were transformed into graffiti. By the early 80s, when competition arose between graffiti artists, graffiti from poorly read font tags began to transform more and more into interesting artistic compositions and catchy slogans: "Boredom is counter-revolutionary", "Run, comrade, for the old world", "Culture is life in reverse "Or" Be realistic, demand the impossible! "

Now, in the era of continuous eclecticism and post-post-modernism, the boundaries of the concept of street art are blurred, like the boundaries of other forms of art.

Street art is any creative action created in an urban environment, in the space of streets and squares. Street artists can be not only artists who directly transform static space, giving it new meaning and codes.

Street artists are street musicians, mimes, break dancers, flash mobers and actionists. That is, all those who go out into the street to create. And it doesn't matter whether a creative person is constantly engaged in this or does one, but important for himself and, as he believes, for those around the Action.

Street art is an aggressive art that actively draws all participants in the city's life into dialogue. Even if, for some reason known to him alone, street art places exclusively "cute cats" in the urban environment, in any case he imposes them completely shamelessly, regardless of anyone's opinion.

Anyone can do street art. If only there was a non-standard idea that I would like to tell the world, since street art can be expressed by any means, but it must carry the concept. Street art is conceptual art.

Street art artists choose their means of expression based on the concept. And these means of expression can be different: stickers, stickers, posters, paint cans, crayons, stencils, plastic, electrical tape, laser projection and LED - everything from which you can quickly create an artistic object and have time to get away with your feet. The fact is that in many countries of the world street art still continues to be considered vandalism, and not a transformation of a boring gray urban environment.

However, when the authorities of some countries realized that street art can bring profit to cities, as it attracts tourists who are willing to pay even for excursions