This city has become renowned for its street art and graffiti scene that has even been compared to other street art meccas such as London, Amsterdam, Paris, and New York. The research takes place in Bogota, Colombia. The Masters Research Project examines how local street art and graffiti might be integrated in a curricular design. This paper will also discuss the history and background of Malaysia’s graffiti art as well as how Malaysian graffiti artists employed various local imageries and identity. This paper, hence, discusses the different approaches taken by Malaysia’s graffiti artists, how they incorporate and explored their visual ideas rooted in hip hop culture and the New York City Subway graffiti, with local imageries and identities. The parallels between graffiti art practices and the development of modern art in Malaysia, made the emergence of forms and themes that reflect local identity in graffiti art not a surprise, as these were also the inherent issues explored by local artists in the domain of fine arts. Despite these positive developments, how the local graffiti artists infused local imageries and identities in their work had not been examined. Since then, graffiti art has been embraced by local municipalities as well as the National Visual Art Gallery (NVAG) in their public programming and activities. The production of graffiti art in Malaysia can be traced back to the late 1990’s. The following paper is a brief attempt to map out the apparatus of street and graffiti art – and thus a multi-positional understanding of the artwork in this context. I would claim that this non-material understanding of the object only facilely has breached into the discussions of graffiti and street art, and that this lack might one of the reasons for the disintegration from the art worlds. This has in turn created a theoretical and conceptual space where it is possible to include vast areas of non-material artworks – such as performance and happening – into the tradition of visual art. The view of the artwork as single monolithic artwork (traditionally either a painting, a sculpture or a building) with somewhat inherent qualities has been heavily challenged by an understanding of the artwork as a complex phenomenon constructed at the nexus of a wide range of different relations. But the art theoretical discussions since the 1970-ties have also shifted the general understanding of the artwork. 3” (1980) are far more famous through Martha Coopers splendid photos, published in the book Subway Art (1984), than as material painting on a subway car in New York City. Who could blame the art world for not keeping up with a branch of visual art produced without commission, and therefore on a regular basis washed away? The “canonical” works of graffiti art such as Dondi’s “Children of the Grave pt. This is the strategy that one could call inopinatum. You know, he wants to get in and get out without even being noticed, except for the work that's going to come out to the public, you know, that Monday” as one of the graffiti writers in the seminal documentary movie Stylewars put it. The situation could be seen as an outcome of one of the main artistic strategies within the field – the idea of an invisible artist only visible through his/her artwork: “…to be as cool, calm and collected about putting his art on the train as he can. The object is many times illegally performed – and thus often ephemeral, painted over by either new works or buffed away in different types of maintenance programs. Graffiti is usually done without any kind of formal institutional backup in the public spaces: the street, the subway car or along the train tracks. The position on the outside is conceptual and institutional as well as spatial and social, something that might come as no surprise. With a few (and at times illustrious) exceptions graffiti and street art takes place outside of these spaces. It is an apparatus including subjects such as artists, critics, dealers, curators and collectors as well as organizations and places such as galleries, museums, magazines and art schools that together form a socio-economical space, generally referred to as the art world – or at times in plural – art worlds. During the last half-century art theoretical discussions has spent an increasing interest in the apparatus surrounding the Artwork as an object.
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