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ANNEXE : Citations originales

Non classé

p. 37

TAKI 183
« I work, I pay taxes too and it doesn’t harm anybody. […] Why do they go after the little guy? Why not the campaign organizations that put stickers all over the subway at election time? »
« Taki 183 spawns pen pals », New York Times, 21 juillet 1971

p. 50

Ville de Toronto
Chapter 485: GRAFFITI
§ 485-1. Definitions.
As used in this chapter, the following terms shall have the meanings indicated:
ART MURAL — A mural for a designated surface and location that has been deliberately implemented for the purpose of beautifying the specific location.
GRAFFITI — One or more letters, symbols, figures, etchings, scratches, inscriptions, stains or other markings that disfigure or deface a structure or thing, howsoever made or otherwise affixed on the structure or thing, but, for greater certainty, does not include an art mural. (Graffiti Bylaw)

p. 51

fauxreel : manifeste
« For the better part of a decade, Dan Bergeron, aka fauxreel, has been making subversive, photo-based street interventions. The aim of Dan’s work is to question the notion of “public” space. It is intended to expose the exclusions embedded in billboard advertising, city architecture and urban geography and to reclaim those spaces for the people and issues they ignore. To that end, Dan’s work is visually and thematically accessible, inclusionary in its documentation of subjects rarely focused upon in mass media, and is intended to provoke reflection upon issues of identity, social relationships and the spaces that we collectively inhabit. »

fauxreel : interview sur le site Unurth
« Because I like blurring the lines and playing with the public’s perceptions in some of the work I create, I immediately realized that the difficulties surrounding an illegal street campaign completed by a commercial interest would be a perfect fit for me. So I approached the Vespa Squarehead project with the goal of raising questions about the role of advertising in public space, examining the grey area between street art, graffiti and advertising and attempting to make connections between products and people’s identities. »

p. 52

Hrag Vartanian
« What is the street artist’s claim to public space if it isn’t for raising public consciousness or communicating an individual voice to a larger audience? Why would a street artist think they can profit off of public space so directly and still retain the respect of the community? Are they mimicking the corporate world’s continuous land grab for public space? »
Hyperallergic, « Street Art politics and commercialization… how far is too far ? », 25 février 2010

p. 56

Magda Sayed
« We are attracted to the same concrete and steel environments as graffiti writers. […] The project questions the assumptions of knitting and it questions the assumptions of graffiti. […] The aim is to beautify architecture. To expose people to something different. Sometimes beauty can be outlawed. »
Cité in Francesca Gavin, Street Renegades, p. 68

p. 58

Carlo McCormick
« Street Art, taking its cue from both the recent lineage of graffiti and the more esoteric history of Modernism’s assault on status-quo assumptions, screws with normative urban experience to allow for a broader questioning of the way things are. This is the space of doubt and scrutiny in which uncommissioned public art operates. »
Carlo McCormick, Trespass, « Where angels dare to tread », p. 16

p. 61

Police de Toronto
« This is not a protest. Repeat. This is not a protest. This is some kind of artistic expression. »
A call that went out on Metro Toronot police radios on May 16, 1998, the date of the first global party.
Cité in Naomi Klein, No Logo, p. 311

p. 70

Jeffrey Deitch
« Art in the Streets will be the first exhibition to position the work of the most influential artists to emerge from street culture in the context of contemporary art history. »
Arts in the Streets, communiqué de presse

p. 71

Doug Harvey
« “Art in the Streets” is ultimately a hybrid of two ethically ambiguous cultural movements, neither of which bears much resemblance to what it claims to be. Museums are alleged to be educational resources for the public governed by learned consensus — certainly not a tax-shelter arena for rich people’s pissing contests. Street Art is supposed to be an inherently political collective visual reclamation of bureaucratically and commercially apportioned public space and consciousness — certainly not a cynical marketing ploy by semi-pro illustrators without the chops to make it in the industry. To the extent that these fictions cancel each other out and create a gap for creativity to flourish, the show is a surprising and delightful success. Revolutionary and historical it ain’t. »
« Art in the Streets is a fun ride but no revolution » – Doug Harvey,, 19 avril 2011

p. 71

Jeffrey Deitch
« What’s happening is that there is this completely new audience of young people who are coming to art in the way they used to come to rock music or hip-hop. That’s a very positive thing. »
Jeffrey Deitch, cité in « Tweaking the Big-Money Art World on Its Own Turf », New York Times, 6 décembre 2009 (

p. 71

Hrag Vartanian
« It is about creating a new strata of the art world, which has the same relationship to fine art as television has to cinema. […] Like what happened with cinema during the advent of television, new forms will emerge. At first they may seem awkward and puerile, but eventually they will mature and be a force in their own right. Today, in the era of reality TV, art house cinema still exists, as does the Hollywood blockbuster, the experimental film, and YouTube. They are all parallel, though some may not stand the test of time. But contemporary art is just that, about now, and the more the merrier in my opinion, but don’t expect all of it to be good. »
Hrag Vartanian, Hyperallergic, « The emergence of real pop art : Jeffrey Deitch & street art »

p. 74

Brad Downey
« If you’re going to employ a vandal, you’re going to get a vandal »,
Brad Downey, cité in Personal Projects, p. 208

p. 81

Reclaim the Streets
« The tactics, Jordan explains, was not the use of art to achieve political ends but the transformation of art into a pragmatic tool “both beautiful and functional”. »
Naomi Klein, No Logo, p. 314

p. 89

John Dewey
« Works of art that are not remote from common life, that are widely enjoyed in a community, are signs of a unified collective life. But they are also marvellous aids in the creation of such a life. »
John Dewey, Art as Experience, p. 84

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