Lori A Escalera – Pavement Art Raison d’Etre and its place in Contemporary Art and Learning

A native Los Angeleno, Lori centered her artistic life in the suburbs of Southern California. In the 1990’s, Lori shifted away from commercial art interests to Fine 

Art. Her artistic interests are figurative and revolve around the study of the figure. Lori questions the artist’s place in the continuum of art history and questions cultural beliefs about history. Lori is a cross medium artist, whose primary work is done in oil paint and chalk. In 1994 Lori began Pavement Street Painting and became one of the world’s top recognized Street Painters in Madonnari style chalking. As well, she creates 3D anamorphic style Street Painting and has worked collaboratively in the Guinness World Record attempt for largest 3D Street paintings in 2014/2015 in Venice FL.

Escalera has had a full career as a Graphic Designer working with aerospace, advertising, civic institutions, corporate and manufacturing firms. In 1995, Lori founded “The Culver City A.R.T. Group,” a civic art group in the Los Angeles area and also a founding board member of BCR, a 501-c3 environmental nonprofit. Escalera has instructed hundreds of children and adults her ideas about art history, drawing, painting, and cultural arts, in pubic classes, workshops and private lessons. She also created community murals with community groups serving underserved sectors.

Lori writes and speaks on Genealogy as well as Art. Her scholarly paper on ideology, Gender and Neuro-aesthetics is included in “As It Is” TRAC 2015 Proceedings.

“Lori received a Bachelor Art Degree Cum Laude in Applied Arts with a distinction in Graphic Design from SDSU. She holds art degrees from WLA College and Los Angeles Trade Technical College & a Certificate of Completion in Commercial Art. She currently resides in North San Diego County, California. Visit her website for more at: http://www.thestreetpainter.com

Pavement Art Raison d’Etre and its place in Contemporary Art and Learning.

  • Motivation (why do we care):

Art has changed over history in its purposes and functions, “who” is even entitled to create it has also changed. No longer is it just the guild artist craftsman supported by the church patron for illustrating religious propaganda or portrait commissions by the wealthy. It is no longer the Academic Rebel Artists who create Art: i.e., Impressionists, Social Realists, Post Modernists – who challenged the nature of what was contained on canvas; but, now Representational Figurative Artists can move away from the canvas and permanency entirely – by creating, exhibiting, and functioning in the street. In order to stay relevant, we want to understand and include this Art in its modern form over the past half century.

  • Problem statement (what is the main argument of my paper):

“Credibility” of the Pavement Artist and their Art form. The Art is sanctified by the Artist now – and not only the patrons, (the museum collector, the public collector or the gallery). It is a relationship that is made directly between artist and his public or consumer. The lack of commoditization and the impact that ephemeral art is having on our experience of art needs to be reconciled and made credible. It cannot be denied that the images of 3D Pavement Art which go uncontrollably wild on the internet and have engaged audiences young and old in a way that traditional art hung on a wall does not, is neglected. Pavement Art is misunderstood (incorrectly presumed to be “outsider” art) and discredited because of its ephemeral nature and inability to be commoditized by traditional sources.

  • Approach (methodology):
    1.  Discuss brief of Street Art
    2. Inclusive of women in 19th/20th century
    3. Compare/contrast traditional art spaces of museum, collector, gallery environment (sacred) spaces to art venues in the street (profane);
    4. Interview Pavement Artist
    5. Explore the concept of Evanescence and deconstruct the illusion of permanence in the experience of Art
    6. Inform about the substance of styles Pavement Art – 2D, 3D (anamorphic) 4D (augmented reality).
  • Results (conclusion):

This paper will substantiate that the nature of art, that who can do art and the venues for art are once again changing, along with a changing audience; That outmoded conventions (sacred venues) should not discredit the contemporary forum of the pavement because it is traditionally considered a profane space. We want to expose ourselves to it in order to deal with the future direction where Art may lead.

  • Conclusions (implications):
    • 1) Pavement Artists who are of substantial innovation, quality, and bodies of work should be added to the body of Representational Figurative Art History
    • 2) That Pavement Art qualities /facets should be included in contemporary educational learning,
    • 3) That Pavement Art should be a facet of vocational training and offered as an opportunity to earn money for the Representational Figurative Artist (alongside Mural Arts, Portrait Painting, or any of the ways Artists have opportunities to express their Craft and earn compensation).