Group items tagged

This article focuses on the graffiti on the streets of Cairo and how the graffiti has started to stand for more than just an expression of tagging, but rather art and a way of the revolution. The artists use graffiti as a way to communicate to others that they are seeing the injustices that are going on. This street art also binds together the artists of this city and their ideologies.

In this article, the Smithsonian presents Egypt's murals more than just art but as a part of the revolution.

This article was a great introductory to what graffiti art has become in Egypt, what it stands for and the meaning behind the paint. It explains that around 2011 individual people and other artistic groups began documenting the wrong doings, brutality and cruelty of the Egyptian regime. The author interviewed artist Ahmed Naguib, and he said, " people singing revolutionary slogans come and go, but the graffiti remains and keeps our spirits alive."

This article explores both the street and the formal art scene after the events of January 25. It discusses how these scenes have had both positive and negative signs (positive: the concept of social art "seems to be winning grounds in the fabric of social enterprises"/negative: the art scene is still "underdeveloped, fragmented and alien to the majority of its own people.").

This article discusses the way the revolutionary uprisings from January 25th have shaped the art community. It focuses not just on street art (which is used as an act of defiance), but also on film, literature (mainly non-fiction works, but poetry as well). Lindsey discusses how the uprisings have shaped all of the art forms that "demonstrate a support for the uprising through cultural activism."

Every inner city area has its fair share of buildings tattooed with layers of colorful graffiti and gang symbols. Given the stigma attached to graffiti, one would not expect to find true art on cracking walls, between trash cans, and on street signs. However, a more advanced form of graffiti-street art-conveys a deeper expression of the artist.

This article from BBC showcases how Egyptian street art is a new voice among Egyptian protestors. In response to events, artists have filled the walls with murals and slogans in response to events such as the Maspero Massacre in 2011. Some of the reoccurring images are of a tank aiming its cannon at a boy on a bicycle carrying bread on his head as well as a melancholy panda. Other artists have integrated some of Egypt's history in their murals showcasing Egyptian pride amongst the rebellion.

More than two years after protesters toppled Hosni Mubarak, Cairo is still ablaze with fiery visual reminders of Egypt's revolution. On the edge of Tahrir Square - the nerve centre of dissent - the burned-out tower block that once housed the headquarters of Mubarak's National Democratic Party stands blackened and empty.

This article talks about a form of art that was born out of the revolution. It discusses how artists in Egypt use street art to make public statements.

This article, written by Joana Saba, talks about Aya Tarek's life and explores her reasons for becoming a part of the art scene in Egypt. While Tarek did not originally consider herself (or her art) a part of the revolution, she discuss how her ideas of politics has changed and how it can be as simple as "walking down the street."

This article explores an exhibition called "This Is Not Graffiti" that was opened in 2011 and had the work of many major street artists. Steven Viney, the writer, talks about the different pieces displayed and the way the authors felt about their works.

This was an article that informed the reader of how these Egyptian artists are forced to get creative after the governmental backlash on street art. The government knows that these murals are inspiring hope, so they do not like or encourage the art. The artists are now doing things like drawing massive murals, and than making a small portion of the mural what they are trying to say, or doing their street art quickly because it is dangerous to be doing.

The dreams, hopes and anger of the Egyptian uprising after 2011 found their most direct and emotional expression through graffiti art, a Swedish journalist based in Cairo told a Duke audience Wednesday.

This was is an article that describes some of the most important graffiti art in great detail, along with some inside news. Ms. Grondahl talks about the mural that was made after the soccer massacre in Port Said, as well as a specific piece of art that was altered by some pro-military artists who erased the original message, although it was repainted over again.

Since the overthrow of Hosni Mubarak sent Egypt into turmoil in 2011, Egypt has been home to a street-art movement of unprecedented vitality. A living record of Egypt's mercurial political situation, these murals have once again proliferated in the wake of the recent coup d'état.

This article was basically an interview that talked with suzeeinthecity, a blogger whom I already have talked about in a previous blog. She talks about womens role in the graffiti art revolution and that they do not have a different message than men, but their presence on the street is what is important.

In this article, Barbara Pollack tells the reader about Ganzeer, an Egyptian artist who was influential in the days of the January 25th revolution. Ganzeer has had the government single him out and labeled him "a recruit of the Muslim Brotherhood." This forced him to move for a long stay in the United States where he continues to work at bringing awareness to Western people and hopes to change the way America supports the Egyptian government.

When the people of Cairo took to Tahrir Square in January 2011 to oust Egypt's longtime ruler, Hosni Mubarak, the streets exploded with murals and graffiti that both mirrored the revolutionary spirit of the movement and propelled it forward. A young graphic designer joined the fray, working under the pseudonym Ganzeer, or "bicycle chain."

When the people of Cairo took to Tahrir Square in January 2011 to oust Egypt's longtime ruler, Hosni Mubarak, the streets exploded with murals and graffiti that both mirrored the revolutionary spirit of the movement and propelled it forward.

This artifact focuses on Aya Tarek, a 24 year old Egyptian graffiti artist, who discusses how she began her journey into the art scene and what she believes in. An avid supporter of the revolution, Tarek also talks about how important it is to fight not only for the causes you believe in, but also for who you are.

This article also focuses on the Sad Panda, specifically on one art work where it shows a solider throwing a baby into a fire. The piece garnered a lot of attention. Attached to this article is a video, talk about where the artist got the inspiration from.