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Describes the relational dynamics of street art from the standpoint of memorable artists and their trajectories in two Brazilian cities, São Paulo and Fortaleza. If there are specificities in the way street artists performer in these two cities, there are also many things in common, such as the constitution of singular forms of occupation of urban space and of political memory. When presenting the specificities of street arts and their conflicts in these two Brazilian cities, we also attempt to situate them in the country's current political context, showing how the state acts both to capture and to repress these interventions. [ABSTRACT FROM AUTHOR]

The article discusses the specifics of street photography realized in museums and galleries. The author focuses primarily on issues related to how the museum space inspires street photographers, affects the way they choose the frame or subject matter of the photo. Photographing in the museum is undoubtedly a challenge, first of all, for technical reasons: low lighting, which forces you to work for longer shutter speed, using a tripod, or, for example, problems related to choosing the right values for white balance; it is also often associated with work in a crowd of visitors, the need to respect the rules for taking photos, various for various museums, as well as facing architectural barriers - all these factors determine the nature of the frames made in the museums or galleries. The author puts forward the thesis that street photo as a photographic practice implemented in a museum, strictly dependent on technical limitations imposed by the exhibition space, uses its own, specific "code' or set of tricks, slightly different from what can be found in works made strictly on the streets. On the example of selected photographic projects (long-term cycles by Elliott Erwitt, Alécia de Andrade, James A. Hudson, Stefan Draschan) and photographs of, among others, Henri Cartier-Bresson and Vivian Maier, the article discusses the most characteristic features of photos that can be classified as street photo made in museums. These include: the focus of photographers on the reaction of the protagonists of photographs to works of art, attempts by photographers to create specific "catalogs of behavior' for museum guests, resignation from games of light and shadow which are specific for street photography, conscious use of elements of museum architecture as elements of frame. The reinterpretation of the conventional language of street photography by photographers working in museums and galleries makes it possible to see in the "museum' variety of street photo a separate phenomenon in the history of photography. [ABSTRACT FROM AUTHOR]

Copyright of Arcos: Design, Cultura e Visualidade is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of ERAS: European Review of Artistic Studies is the property of European Review of Artistic Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Melanie Einzig desenvolve uma linguagem própria na sua fotografia de rua que registra aspectos da cultura americana e da cidade de New York. Seu olhar descompromissado com interesses comerciais ou longe das restrições do fotojornalismo revela um engajamento pessoal consistente ao longo dos anos e permite uma arejada na fotografia documental. Essa entrevista apresenta também um ensaio fotográfico que comenta a obra da fotógrafa nas legendas, em uma narrativa paralela que investiga a produção de Einzig por meio de texto e também de fotografias realizadas pela autora ou mostradas pela fotógrafa.

An introduction to a series of photographs of graffiti in Portugal is presented on topics including the use of graffiti as political propaganda, a historical overview of graffiti in Europe, and graffiti in the context of the economic crisis in Portugal in the 21st century.