Abstract
In the last few months of 2020 and the first half of 2021, two urban art cataloguing projects have been carried out in two cities in different countries, making it possible to put some methodological proposals into practice that, until now, were being carried out mainly at a theoretical level. This is the project “Painted on the wall. A study of wall painting in the province of Jaén in the XX-XXI centuries’’, financed by the Instituto de Estudios Giennenses (Diputación de Jaén, Spain) and the project “The muralist creation of the CALLEGENERA Urban Expressions Festival as cultural artistic consumption” in the city of Monterrey, financed by the Mexican Programme for the Promotion of Cultural Projects and Co-investments. Methodological systems for working with and collecting information, cataloguing sheets and models for interviewing different artists have been developed in both of these projects with a common theoretical basis, such as the proposals that emerged within the GEIIC Urban and Public Art Group, and the CAPuS project and YOCOCU proposals. As such, this paper analyses both projects in terms of their methods and results, and draws conclusions about which options have worked best in terms of optimising resources for future projects. A proposal is also made to improve the urban art cataloguing sheets by including information regarding the correlation between the work and the communities surrounding it, since urban art only makes sense in its context, and some of this information is lost when the sheets are made.
| Original language | English |
|---|---|
| Title of host publication | Street Art and Urban Creativity |
| Pages | 80-91 |
| Number of pages | 12 |
| Volume | 7 |
| Edition | 1 |
| Publication status | Published - Nov 2021 |
Publication series
| Name | Street Art and Urban Creativity |
|---|---|
| Publisher | Urban Creativity |
| ISSN (Print) | 2183-3869 |
Bibliographical note
Funding Information:To the Instituto de Estudios Giennenses (the Institute of Giennese Studies) for financing the Spanish project; to the University of Jaen for supporting us; to José Manuel Almansa, Rafael Mantas and Sergio Cruz for being part of the team, without their work it would have been impossible to achieve these results. To Programa de Fomento a Proyectos y Coinversiones Culturales Emisión 35-2019, for financing the Mexican project; to Rodrigo Ledesma Gómez, Ana Cristina García-Luna Romero, Yadira Nieves Lahaba, doctorate in philosophy, Ana Carolina Riojas Esparza, Mextli Narada García Flores and Víctor Briones Galván for being part of the team. To Rebecca Cray for translating this text
Funding Information:
This is why we wanted to carry out a comparative analysis of two real cataloguing projects in this text, as studying them could help find out which elements established to date work well and provide good results, and what shortcomings are detected. The two projects are: a) “Pintado en la pared. Estudio de la pintura sobre muro en la provincia de Jaén en los siglos XX-XXI” (Painted on the wall. A study of wall paintings in the province of Jaen in the 20th – 21st century), financed by the Institute of “Giennense” Studies (Provincial Government of Jaen), developed between Decem-ber 2020 and October 2021, with the idea of cat-aloguing both commissioned and independent street artwork in the province of Jaen (Spain,) as well as cultivating an understanding of how graf-fiti has evolved (BOP, 2020). The project is led by Laura Luque Rodrigo, doctorate in Art History, professor at the University of Jaen and co-coordi-nator of the Street Art and Commissioned Street Art Murals Group GE-IIC; José Manuel Almansa Moreno, doctorate in Art History and professor at the same university; Rafael Mantas Fernández, doctorate in Art History and a high school teach-er; and Carmen Moral Ruiz, restorer, doctorate in History and the Arts, professor at the Universidad of Huelva (Spain) and member of the aforemen-tioned Street Art and Commissioned Street Art Murals Group. Sergio Cruz Molina, an undergrad-uate Art History student at the University of Jaen, has also collaborated as a research fellow for 6 months. b) “La creación muralista del Festival de Expresiones Urbanas CALLEGENERA como consumo artísti-co cultural” (The muralist creation of the CAL-LEGENERA Urban Expressions Festival as cultur-al artistic consumption). (Mendoza Lemus, 2020), financed by the program “Programa de Fomento a Proyectos y Coinversiones Culturales Emisión 35-2019” (Promotion of Cultural Projects and Co-in-vestments Issue 35-2019). This program, FON-CA, was developed between 2019-2021 and has worked with the identification, description, and cataloguing of the artworks created in the Monterrey Callegenera Festival (Mexico) since 2011 in order to document them and study the impact they have. The project is led by Adris Díaz Fernán-dez, doctorate in Art History, professor at the University of Monterrey and member of the Street Art and Commissioned Street Art Murals Group GE-IIC; Rodrigo Ledesma Gómez, doctorate in Art History, Ana Cristina García-Luna Romero, architect and professor at the University of Monterrey and Yadira Nieves Lahaba, doctorate in Philosophy, and teacher at the Autonomous University of Nuevo Leon, Mexico. Ana Carolina Riojas Esparza, graduate in Sociology, and Sociology student Mex-tli Narada García Flores at the University of Monterrey and Library, and Information Science student Víctor Briones Galván from the Autonomous University of Nuevo Leon have also collaborated.
Publisher Copyright:
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