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The Potential of Street Art. Obstacles to the Commercialization of Street Art and Proposed Solutions

  • Virginia Santamarina-CamposEmail author
  • María de-Miguel-Molina
  • Blanca de-Miguel-Molina
  • Marival Segarra-Oña
Conference paper
Part of the Springer Proceedings in Business and Economics book series (SPBE)

Abstract

The recent commercialization of public art in Europe has placed Street art in one of the most powerful artistic sectors of the creative industry. The contracting of street artist for wall paintings by the public, private and academic sectors, has promoted the artist itself, and has generated a public acceptance of these creative resources. This institutionalization of the urban art movement in Europe has led to a museum recognition status of these spaces, which has resulted in the official declaration of outdoor museums such as Brussels, Portugal or Paris. Moreover, it can be seen as the development of public art proposals that give color to neighborhoods, providing Europe with uncountable, highly creative and innovative public spaces. As a result, the European Union street art industry produces annually over 180.000 new works, playing an active and vibrant role in urban environments by modifying the perception of its surroundings. The unique style, energy and innovation of street art has also a huge potential to be re-used and inspire other Cultural and Creative Industries, being in fact a vital economic driver for most CCIs. However, the numerous online collections of street art photographs are poorly managed and inefficiently catalogued, making content difficult to repurpose and reuse by potential users for their needs. Besides, street art photographs do not truly reflect the transformative nature of the wall paintings surrounding environment.

Keywords

Street art Cultural and creative industries Creative spaces Urban environments Digital content 

JEL Classification

Z11 Economics of the arts and literature Z18 public policy Z32 tourism and development O34 intellectual property and intellectual capital O52 europe 

Notes

Acknowledgements

This paper has been developed within the research project, conducted by Professor Santamarina-Campos, ‘Art, registration and transfer. Tools for smart digital content in the public art’ (APE/2017/030), Generalitat Valenciana (Valencia Region, Spain).

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Copyright information

© Springer Nature Switzerland AG 2019

Authors and Affiliations

  • Virginia Santamarina-Campos
    • 1
    Email author
  • María de-Miguel-Molina
    • 2
  • Blanca de-Miguel-Molina
    • 2
  • Marival Segarra-Oña
    • 2
  1. 1.Department of Conservation and Restoration of Cultural HeritageUniversitat Politècnica de ValènciaValenciaSpain
  2. 2.Management DepartmentUniversitat Politècnica de ValènciaValenciaSpain

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