Annotated Bibliography | Street Art
Samantha Pezzolanti
10 Sources
Kennedy, Randy. "A Feast of Street Art, Luminous and Legal." The New York Times.
The New York Times, 29 Aug. 2013. Web. 22 Nov. 2015.
<http://www.nytimes.com/2013/08/30/arts/design/graffiti-art-of-the-city-fromthe-bronx-to-brooklyn.html?_r=0>.
 I found this source by simply looking up “street art NYC”; being from the NY
times I was automatically inclined to look at the entire article. Written in
2013 the article looks past the art found in galleries and museums and turns
to the art found not behind the glass doors of an institution but along the
streets of the boroughs that make up New York. Street art has evolved
considerably from the days of tagging and marring buildings to creative
pieces sprawled out along many walls and blocks. This article touches upon
the various locations in NYC that are notorious and recognized for their art
and unique features. Though is does not focus solely on the Bushwick
Collective it provides an insight into the other places artists put up their
work and why. I plan to incorporate this when speaking about the selected
murals and their artists.
Cooperstein, Paige. "Tour The Brooklyn Neighborhood That's Become New York's
New Street Art Mecca." Business Insider. Business Insider, Inc, 17 Jan. 2014. Web. 22
Nov. 2015. <http://www.businessinsider.com/bushwick-collective-street-art-20141>.
 While it’s a short piece I selected this one because it gave me my first insight
into the rising of the Bushwick Collective. Nearly two years old the article is
still relevant and the background given on the curator of the Collective is still
very much true. The information in this article gave me a starting point to
branch out to other avenues. I also had no idea that the Collective was still in
its youth. This article gave me an entirely new chunk of information to work
with. Additionally it was in reading this that I was intrigued into focusing
more on the collective and its popularity.
Hybenova, Katarina. "The Bushwick Collective | Bushwick Daily." Bushwick Daily.
Bushwick Daily, 7 Oct. 2015. Web. 22 Nov. 2015.
<http://bushwickdaily.com/tag/the-bushwick-collective/>.
 Hybenova focuses on one piece in particular here and I kept it as a reference
because it is one of the pieces I plan to feature in my final project. Because
the Mets made it to the world series this year it was a big cultural event and
having a feature in the Collective reflects it’s overall large impact. While it
didn’t drastically change any views or information I had on the collective it
gave me the leg work to finding out more about the artist and in turn any
relevant tags about him, the piece or other work he has done for the
collective.
Turco, Bucky. "Graffiti Writer ZEXOR Declares War On Gentrification, Street Artists,
and the Bushwick Collective - ANIMAL." ANIMAL. Animal New York, 22 Jan. 2015.
Web. 22 Nov. 2015. <http://animalnewyork.com/2015/graffiti-writer-zexordeclares-war-street-artists-bushwick-collective/>.
 Turco’s piece also from 2015, focused on an obstacle that many artists face. It
also answered some questions I had about frequent artists. Turco talks about
one tagger in particular that has caused the rightful artists of the collective
headache by defacing and tagging his tag “ZEXOR” on the murals. It has
raised questions for me because although these murals are put up with the
permission of the building owner and curator of the collective is there any
legislation in place to protect them from vandalism? Can you get in trouble
for it? So that is definitely something I plan to look into, what if anything,
protects these works of art.
Deimling, Kate. "The Old-School Saint of Nouveau Bushwick." The Old-School Saint
of Nouveau Bushwick. Narratively, 1 June 2015. Web. 22 Nov. 2015.
<http://narrative.ly/stories/the-old-school-saint-of-nouveau-bushwick/>.
 This article is the meat and potatoes or the trunk of the tree to my research.
It was in this article that I really got the insight into why the collective
started, how the artists are selected and the life of the pieces. After reading
this article I reached out to the Curator Joe Ficalora, but have yet to hear
back. Learning about the block parties that the Collective has at the start of
each summer was interesting and ties into my idea that the street art brings
communities together, it also repaired this community after having fallen
into despair nearly 20 years ago.
Alonzo, Raul. "Art as Resistance." Strike Magazine 25 Sept. 2013. Print.
 Alonzo’s Art as resistance is completely unrelated to Brooklyn, NYC or even
the United States but it does deal with street art and murals. Covering the
civil uprising in Egypt Alonzo talks about how the protestors used street art
as a means to get their message across. This made me think about the larger
picture of the collective, why are these pieces there, what do they mean and
how, if at all, do they tie to the struggles of a particular segment of people.
The perseverance of the protestors and the powerful imagery they used in
their murals is inspiring and it made me realize I needed to identify not only
the artist but their genre and why they utilize their particular style. Street art
is popular all over the world and while its colors and messages may be
different it is still a powerful means of communication.
Yip, Erin. "What Is Street Art? Vandalism or Public Art?" Art Radar. Art Radar, 10
Jan. 2010. Web. 22 Nov. 2015. <http://artradarjournal.com/2010/01/21/what-isstreet-art-vandalism-graffiti-or-public-art-part-i/>.
 When I searched “what is street art?” I got millions of hits and links but this
one in particular came up a few different times so I followed it. It beckons the
questions is street art really art or is it vandalism? This brought me back to
my previous question of what protects these pieces? Even if the building
owner agrees to let it be painted is it really allowed there? All things I realize
I need to look into. Next I found this article to be extremely helpful and
relevant because it is the only one that listed in clear form the types for street
art, paint, stencil etc. Reading about the types of street art was interesting
and important in understanding the work I came across at the collective,
each type of art is very different. With this information moving forward I may
classify the types of art at the collective to make it easier to understand and
form connections to it’s message as well as other pieces in the collective.
Powers, Lyon A. "Whatever Happened To The Graffiti Art Movement?." Journal Of
Popular Culture 29.4 (1996): 137-142. Academic Search Complete. Web. 23 Nov.
2015.
 Powers article focuses on the rising of the graffiti movement of NYC. What
was originally vandalism and punishable with jail time suddenly became a
form of art entangled in a game of cat and mouse with authorities. Tagging
became a competition, gaining high praise when your tag appeared in a high
or hard to get to location, like subway cars or train yards after security
became tighter. While tagging was a game, a way to earn street credibility
murals was a way to paint a picture or express an idea. While murals took off
and gained artistic recognition it began the demise of original graffiti and
tagging. By the early 80s all murals and street art began to appear in galleries
or curated spaces. This source in its entirely is a huge stepping-stone of
background information for the rise of street art. I plan to reference this
information when talking about the transformations that the styles and
genres of murals have undergone in the last few decades. Reading this gave
me additional insight into how graffiti changed the image of New York in the
70s and 80s and just how big apart of culture it really was.
Anderson, Sam. "The Vandalism Vandal." New York 40.20 (2007): 32-108. Academic
Search Complete. Web. 23 Nov. 2015.
 The Vandalism Vandal ties into my more recent sources about taggers who
write on or deface murals or pieces by other artists. Most of the time
unknown other than their tag name, these artists make it a game or a novelty
to do this without being caught. The Splasher was a notorious defacer,
marring works in Williamsburg, SoHo and other notable pieces across the
city. The Splashers targets got bigger and bigger eventually hitting world
famous artist Banksy. Anderson searches high and low for the notorious
villain but to no avail. This source is drastically different from the others and
while I may not pull quotations from it for my work it did provide valuable
insight and inquiry into the world of street art. It made me think of how
artists respect and value one another, how they gain respect and how they
react if and when their pieces get defaced.
Johnson, Lance. "Graffiti 2000 brings the craft from the street to the gallery." New
York Amsterdam News 03 Aug. 2000: 28. Academic Search Complete. Web. 23 Nov.
2015.
 The Johnson piece is a huge highlight of the turning point of street art
culture. Talking about the gallery in Harlem that featured 15 artists, having
them create their art right there on the clean white walls. Marking the change
from vandalism to fine art the gallery sought to bring art and its culture back
to Harlem, and all of NYC. Being featured in a gallery changed the game, as
many artists noted they never saw their work as gallery worthy as they were
tagging trains and vacant lots. For my project this helps support my notion
that these murals, this graffiti is art in its own right. It’s representative,
expressive and many of them are breathtaking. Johnson gave me new
avenues to explore my developing idea.