The Nuart Journal presents the research, essays and writings of an international network of artists, curators, academics, research scientists, independent researchers and industry professionals on street art and related topics. It is the culmination of five years of content from the annual Nuart Plus symposium, established as the world’s first annual symposium dedicated to street art practice.

Nuart offers various platforms for the exchange of international expertise on street art and related arts practice and is dedicated to extending and expanding arts place in daily life using the tactical strategies of unsanctioned street art. Through its activities It aims to develop international cooperation in the areas of exhibitions, projects, scholarly research and publications.

The Nuart Journal aims to serve as a forum for critical discourse and commentary on street art practice, defined as broadly as possible to include all aspects of both independently sanctioned and unsanctioned art in public space that does not fall under the general rubric of traditional public art practice, neo liberal place-making or an institutional model of relational art designed for a privileged and elite few.

Though the journal is intended as a scholarly journal that welcomes new and experimental modes of research as well as peer reviewed papers, it is also a site for artists, curators and independent researchers to publish articles, conversations, projects and opinion pieces without review or citations. It encourages radical appropriation.

The journal is overseen by a small group of international co-editors assisted by an international advisory board, that reflects the diversity of street art practice.  You’ll find articles, essays and conversations from a broad range of authors including cultural heritage workers, historians, critics, cultural and human geographers, political theorists, anthropologists, ethnographers, sociologists, psychologists, criminologists, curators, writers, taggers, anarchists, neo-liberal-marxist paradoxes and out and out vandals.

The journal recognizes street art as the natural state of art, a self-organizing relational art of participation unmoored from an institutional, art historical or binary ethic/aesthetic critique. It extends beyond the limits of any professional sphere or disciplinary field and refuses to be either defined or policed by institutional hierarchies, it rejects as it welcomes and is itself a target for critique.