Socially-philosophical analysis of concepts of street art: the approaches to the definition and origin of the phenomenon

The last ten years researching street art as a large-scale socio-cultural phenomena has increased many times over. But until now, researchers discuss about the nature of street art, its genesis, and even the legitimacy of the term. One of the key open issues is the question of the Genesis of street art. One of the key open questions is the question of the genesis of street art. The vast majority of researchers speak about the formation of street art from the earlier practice of graffiti. At the same time, questions about the genesis of the graffiti and the problem of continuity and separation of graffiti and street art are quite controversial. Currently, the research Convention is achieved in the understanding of the Genesis of street art, which appeared as the continuation of the development of American graffiti 1970-ies.. Most researchers agree with the concept of Baudrillard, which considers the American graffiti as a new socio-cultural phenomenon, born in the protest movement of American cities and different in their characteristics from traditional graffiti. Thus, the version of the genesis of modern American graffiti (but also grew out of his street art) from traditional graffiti is gradually replaced by scientific discourse. In addition, researchers have reached the Convention in understanding the essence of this socio-cultural phenomenon. Despite the commercialization and institutionalization of street art, most researchers consider it the essential signs of the desire to fight for the redistribution of public space, illegal occupation of urban spaces and surfaces, an open expansion and the total spread of new symbolic systems, codes and descriptive messages; the nature of the protest, free expression on political and social issues, and building dialogue with citizens (open, dialogical communication); the fragility of created objects; balancing on the verge between art and vandalism. While discussions about the specifics of street art have continued, there is a gradual transition from a simple essentialist questions about the nature of street art to a more mobile contextual logic, allowing through street art to explore the various aspects of social relationships and practices.

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