I was under the impression that Wynwood Walls commissions—not charges—artists to create large-scale murals there. And it's not an event; it's essentially an open-air museum that's open year-round. Are you sure that the advertisement you posted a screenshot of is for Wynwood Walls? Looks like it might be something different, as Wynwood Walls is in Miami proper, not Miami Beach.
No, it’s not part of Wynwood Walls. It’s a private agency capitalizing on the influx of artists who flock to Miami during this time, not just for Wynwood but also for Art Basel. I wanted to highlight the dystopian future this trend points to.
As for Wynwood itself, most of the walls aren’t official commissions. Artists aren’t paid to paint them; they even cover their own flights and accommodations to be there. While it’s understandable that they see it as an “investment” in their career, the real beneficiaries of that investment are often the real estate developers driving the entire process.
The question could be if there's only one type of "authentic street art"? I mean what you want to say in the article, but street art is always progresses and changes as all types of art do. If that is true, are the "flowers colourfuls walls" in a touristic place st.art? I don't know, but you know the artists needs more things than expressing themselves freely.
That’s a great point—street art, like any art form, is always evolving, and there’s no single definition of what’s “authentic.” My editorial isn’t about rejecting change but about exploring the tension between street art’s origins as raw, unsanctioned expression and its increasingly polished, institutionalized forms.
As for “flowerful walls,” I think it depends on the context. Are they genuine artistic expressions, or are they designed to fit into a commercial or decorative agenda?
It’s not about dismissing “birds-and-flowers” murals but questioning the intent and process behind them. The answer often lies in the narrative and purpose behind the work.
Take Thiago Mazza, for example. The Brazilian artist is renowned for his breathtaking depictions of flora, especially tropical plants. At first glance, his murals might seem purely decorative, but they carry a deeper message. Mazza brings nature into urban spaces, sparking a dialogue between the city and the natural world. His current project, which involves collecting and painting local plants, emphasizes the connection between people and their environment, rooting his art in context and meaning. This approach transcends aesthetics; it reflects a thoughtful and intentional process that aligns with street art’s essence as a form of cultural and social expression.
So, while street art continues to evolve, I believe the key is whether the work engages with its surroundings and tells a story, rather than simply serving a commercial or decorative purpose.
You’re absolutely right, though, that artists need more than just freedom to create—they need support, visibility, and resources. That’s why street art festivals, galleries, museums, and urban art events remain essential. I’m not suggesting we should eliminate the art system (and that would be hypocritical of me, given that as someone who works in communication, I’m part of that system). My concern is when the need for resources leads to compromises that dilute the original spirit of the art. It’s a tricky balance to strike, and I’m really glad you brought it up!
I was under the impression that Wynwood Walls commissions—not charges—artists to create large-scale murals there. And it's not an event; it's essentially an open-air museum that's open year-round. Are you sure that the advertisement you posted a screenshot of is for Wynwood Walls? Looks like it might be something different, as Wynwood Walls is in Miami proper, not Miami Beach.
No, it’s not part of Wynwood Walls. It’s a private agency capitalizing on the influx of artists who flock to Miami during this time, not just for Wynwood but also for Art Basel. I wanted to highlight the dystopian future this trend points to.
As for Wynwood itself, most of the walls aren’t official commissions. Artists aren’t paid to paint them; they even cover their own flights and accommodations to be there. While it’s understandable that they see it as an “investment” in their career, the real beneficiaries of that investment are often the real estate developers driving the entire process.
The question could be if there's only one type of "authentic street art"? I mean what you want to say in the article, but street art is always progresses and changes as all types of art do. If that is true, are the "flowers colourfuls walls" in a touristic place st.art? I don't know, but you know the artists needs more things than expressing themselves freely.
That’s a great point—street art, like any art form, is always evolving, and there’s no single definition of what’s “authentic.” My editorial isn’t about rejecting change but about exploring the tension between street art’s origins as raw, unsanctioned expression and its increasingly polished, institutionalized forms.
As for “flowerful walls,” I think it depends on the context. Are they genuine artistic expressions, or are they designed to fit into a commercial or decorative agenda?
It’s not about dismissing “birds-and-flowers” murals but questioning the intent and process behind them. The answer often lies in the narrative and purpose behind the work.
Take Thiago Mazza, for example. The Brazilian artist is renowned for his breathtaking depictions of flora, especially tropical plants. At first glance, his murals might seem purely decorative, but they carry a deeper message. Mazza brings nature into urban spaces, sparking a dialogue between the city and the natural world. His current project, which involves collecting and painting local plants, emphasizes the connection between people and their environment, rooting his art in context and meaning. This approach transcends aesthetics; it reflects a thoughtful and intentional process that aligns with street art’s essence as a form of cultural and social expression.
So, while street art continues to evolve, I believe the key is whether the work engages with its surroundings and tells a story, rather than simply serving a commercial or decorative purpose.
You’re absolutely right, though, that artists need more than just freedom to create—they need support, visibility, and resources. That’s why street art festivals, galleries, museums, and urban art events remain essential. I’m not suggesting we should eliminate the art system (and that would be hypocritical of me, given that as someone who works in communication, I’m part of that system). My concern is when the need for resources leads to compromises that dilute the original spirit of the art. It’s a tricky balance to strike, and I’m really glad you brought it up!
I always learn something reading you. Thank you.
By the way, I didn't know Thiago Mazza, I'm going to take a look at his works.
Uh Thiago is such a great artist! :-)
Precisa e perfetta come sempre! ogni mese mi dai spunti nuovi su cui lavorare :D grande giu
Grazie Gian del supporto!