{"id":13145,"date":"2020-07-27T19:11:04","date_gmt":"2020-07-27T19:11:04","guid":{"rendered":"https:\/\/museumofnonvisibleart.com\/authorsite\/ljiljana-radosevic\/"},"modified":"2020-07-27T19:12:16","modified_gmt":"2020-07-27T19:12:16","slug":"ljiljana-radosevic","status":"publish","type":"post","link":"https:\/\/museumofnonvisibleart.com\/authorsite\/ljiljana-radosevic\/","title":{"rendered":"Ljiljana Rado\u0161evi\u0107"},"content":{"rendered":"
\"\"Ljiljana Radošević<\/a> was born in Belgrade (Serbia) in 1978. She got MA in Art History at the University of Belgrade by defending thesis about appearance and development of graffiti in Belgrade 1996-2005. She started her research in the year 2000 and continued to document art works and interview graffiti and street artists until present day. During her second MA studies in Management in Culture she had an opportunity to do her internship at the most important comics festival in Europe FIBD Angouleme and consequently wrote her thesis about it. After working in the field for several years she started her PH.D. studies at the University of Jyvaskyla (Finland) with the thesis under the title Understanding Street Art; A Study of European Street Art. At the moment she is in the final stages of writing but has managed to initiate in collaboration with her colleagues projects such as www.streetartwalksbelgrade.com<\/a> and www.urbanheritagehub.com<\/a> (not active yet).<\/div>\n
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The books mentioned in the interview are The Dresden Files<\/a>, and the authors Ursula K. LaGuin<\/a> and Andrzej Sapkowski<\/a>. As well as the series called Urban Shaman<\/a>.<\/div>\n
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Ljiljana Radošević was born in Belgrade (Serbia) in 1978. She got MA in Art History at the University of Belgrade by defending thesis about appearance and development of graffiti in Belgrade 1996-2005. She started her research in the year 2000 and continued to document art works and interview graffiti and street artists until present day. […]<\/p>\n","protected":false},"author":3,"featured_media":13169,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[6],"tags":[],"class_list":{"0":"post-13145","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-interview","8":"entry"},"_links":{"self":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/13145","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/comments?post=13145"}],"version-history":[{"count":2,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/13145\/revisions"}],"predecessor-version":[{"id":13170,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/posts\/13145\/revisions\/13170"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/media\/13169"}],"wp:attachment":[{"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/media?parent=13145"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/categories?post=13145"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/museumofnonvisibleart.com\/authorsite\/wp-json\/wp\/v2\/tags?post=13145"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}