Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Power in society
Power in society
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Power in society
Power and Exploitation: An Analysis of Exit Through the Gift Shop It is human nature to desire power. Exit Through the Gift Shop, a film written by a street artist, helps portray the different ways people try to achieve power. The film follows Thierry Guetta on his journey to achieve agency through street art. While the film demonstrates how agency can be gained through perceived power, it is ultimately society that has control. In the film, the street artists are able to gain agency through perceived power. One example of this is Shepard Fairey. He started by making street art to rebel against society, and in doing so, people perceived him as powerful. By rebelling against society, he appears to be powerful because he can escape societies …show more content…
Since Thierry’s reason for creating street art was not about rebelling like Fairey’s, but about gaining agency, he helps change the meaning of street art. In this way, street art becomes less about rebelling from society, and more about using it to achieve fame and money. The idea of a changed meaning is brought up in Jean Baudrillard’s essay Simulacra And Simulations. Baudrillard talks about the hyperreal, which is “sheltered from the imaginary, and from any distinction between the real and the imaginary, leaving room only for the obitital recurrence of models and simulated generation of difference” (2). In other words, the original meaning of certain things is covered up over time through reproduction. Baudrillard’s idea of the hyperreal is demonstrated by Thierry; he is reproducing what he believes to be street art, and in doing so, the street art loses its original meaning of rebelling against society. John Fiske’s idea of incorporation relates to how the meaning of street art is changing. According to Fiske, incorporation is the ability of a company to exploit an idea “for their commercial interest” (Understanding Popular Culture 5). While Thierry is not part of a big company, in a way he is doing the same thing that they do; he is using a subcultural idea to make money. In exploiting street art, Thierry takes away the original meaning and reason for this subculture. It is in this way that Thierry achieves his agency. While Thierry illustrates that anyone can achieve power, he also illustrates that agency can only be achieved by exploiting others. The idea of power relating to exploiting others is an idea that has plagued humans for centuries. It is only through exploitation of the natives that America even exists and could rise as a nation. This is sad to think about because it means that for one person to rise, another has to
I found out that he is not only an artist, but an author as well. He uses his artistic ability to express his political views. The painting below is about a man struggling with life and the depths of despair falls to his knees asking for an audience with God. He left his country due to one night, solider bombarded into his home and ransacked everything in the middle night for no reasons (King, 2001). It’s a country run by dictatorship, fear, killing and extremist (King, 2001). Like other artist, he uses his art to express the pain that many of his people endure brought upon by those in his own culture. So, oppression does not have to come from others outside your race or other ethnicity, but your own as well.
In the Enseigne, art is also shown to serve a function that it has always fulfilled in every society founded on class differences. As a luxury commodity it is an index of social status. It marks the distinction between those who have the leisure and wealth to know about art and posses it, and those who do not. In Gersaint’s signboard, art is presented in a context where its social function is openly and self-consciously declared. In summary, Watteau reveals art to be a product of society, nevertheless he refashions past artistic traditions. Other than other contemporary painters however, his relationship to the past is not presented as a revolt, but rather like the appreciative, attentive commentary of a conversational partner.
“…the culture industry has brought about the false elimination of the distance between art and life, and this also allows one to recognize the contradictoriness of the avant-gardiste undertaking: the result is that the Avant-garde, for all its talk of purging art of affirmation with forces of production consumption, became an accomplice in the total subsumption of Art under capitalism.”
Most people awake to a daily routine, in which they keep eyes dazed staring at the pavement they walk on yet so easily ignore. Usually, these same people go about their business with no more than a passing glance towards their fellow man. However, there is an enigmatic few that are more than mere pawns in the game of existence. They are passionate spectators who take in their surroundings with every sense. They rejoice in the vastness of the electric crowd and become one with it. By all means, these few can be called ‘idle city men’ or, according to Charles Baudelaire’s 1863 essay “The Painter of Modern Life”, they are flâneurs. I believe a worthy example of a man such as this, is the persona in Walt Whitman’s “Song of Myself”. He is a flâneur in all ways but one.
Jean-Michel Basquiat, of both Puerto Rican and Haitian descent, grew up in Brooklyn and at the age of 17, ran away from his home to live in Manhattan and pursue his art career. He began as a homeless graffiti artist under the name SAMO. Throughout Manhattan, he would tag poetic phrases onto walls. An expression he used repeatedly was “Boom For Real.” It meant that he would rupture a coherent object or idea (Jean-Michel Basquiat: The Radiant Child). The end result would be a galaxy of reality made up of incoherent yet equal parts. He believed that he could do this to the art industry. He pioneered a new art form that puzzled the preceding artists. It was, essentially, graffiti that had been put on a canvas. To many Americans, graffiti was an art form for those who held little impact in the chaos of the art world, such as the average African American male. So by having his work bought and valued by people who actually had impact in the art realm, he detonated such realm. When pop star Madonna was inquired about him, she acknowledge...
In the film ''exit through the gift shop” Banksy made an documentary film, the film examine street art, graffiti and the surrounding subculture as well as the lives of the artists. Banksy is a British graffiti artist and painter. While Banksy is out and exploring the world, A man name Therri Guetta, a friend of Banksy and also a artist. Therri has a obsession with filming, capturing everything in camera, so Therri insist to record everything on Banksy art quest. Banksy in ''Exit throught the gift shop” wants to stay anonymous in his art work and he may be one of the most mysterious street's artists. Street art started with artists expressing themselves through their creativity and designs, on images posted in public, but turned to a moneymaking operation for Banksy in ''Exit through the gift shop”. Banksy create his art work in the dark, on a wall, or signs, with minimal supplies and the rush it gives him is all based on the fact that it is all considered illegal. Although, in the past, Michelangelo was born in Tuscany in Italy on the 6th of March in 1475. He was an Italian painter, a sculptor, an architect. His strongest skill was specialized in painting and sculpting. Two of Michelangelo works, the “David” and “Pietà” . Born in Tuscany, Michelangelo w...
While most stereotypical street artists wouldn’t go all out for their first show, he did. Mr. Brainwash rented out a 15,000 square foot warehouse filled with his art. He titled the show “Life is Beautiful.” His first art show was nothing less than a success, with 4,000 people wandering the halls lined by the art that he created, a dream come true for every street artist. Theirry Guetta was a beautiful example of how seeing a simple piece of graffiti can influence a person and how they live their lives.
Nearly all men can stand adversity, but if you want to test a man’s character, give him power. After Edmond escapes from prison, he increases his power from the money he gains from the Isle of Monte Cristo to be able to eradicate his enemies. In The Count of Monte Cristo by Alexandre Dumas the author uses imagery and details to portray the theme of power.
In the performance of life, one cultural representation that captivates and entrances people more fluently and describes the human experience more eloquently is that of artistic expression. It imposes itself unto the face of society through the individual who creates it as a reflection of any one or combination of personal, emotional, or physiological effects society or one’s own environment has inflicted onto them to compel them convey their feelings to the public. The essential argument, is whether graffiti has a place in the grand context of society. One end of the spectrum paints it as a nuisance to property owners and city officials allow for a criminal perspective of the practice. While at another end you can view it as the artist in a sense blessing others with the fruits of their inner consciousness. An artistic expression no matter what the viewpoint of society, in an anthropological context graffiti is essential to modern society and its impact is one that cannot be forgotten or lived without.
The film Basquiat explores the artist Jean-Michel Basquiat, a Haitian-Puerto Rican painting in New York City during the 1980s. Working closely with Andy Warhol, Basquiat was exploited for his unique “urban ghetto” graffiti and crude style of representation. Schnabel’s film further exploits this image of the painter, depicting him in various scenes of poverty and drug addiction, dirty poor love and desperation. Our understanding of the artist is framed by excerpts from essays by art critic Rene Ricard, depicted as a flaming homosexual who leeches off of his artistic friends. Ricard observes the hypocrisy and self-indulgence of the art scene that is vital to...
In the book “Ways of Seeing,” John Berger explains several essential aspects of art through influence of the Marxism and art history that relates to social history and the sense of sight. Berger examines the dominance of ideologies in the history of traditional art and reflects on the history, class, and ideology as a field of cultural discourse, cultural consumption and cultural practice. Berger argues, “Realism is a powerful link to ownership and money through the dominance of power.”(p.90)[1] The aesthetics of art and present historical methodology lack focus in comparison to the pictorial essay. In chapter six of the book, the pictorial imagery demonstrates a variety of art forms connoting its realism and diversity of the power of connecting to wealth in contradiction to the deprived in the western culture. The images used in this chapter relate to one another and state in the analogy the connection of realism that is depicted in social statues, landscapes, and portraiture, also present in the state of medium that was used to create this work of art.
Media’s Role in Exploiting and Exaggerating Simple Random Acts As seen in the film Exit Through the Gift Shop the media sometimes will take simple acts that were designed for a small audience and randomly present the same acts to a much larger audience and possibly with a new perspective than anticipated. An example from the film is when Banksy wrote a simple one sentence reply to Thierry who then put that sentence on the side of a building. A few examples of this are: when a little boy ate his Poptart into the shape of a gun and was suspended for it, Alex from Target did nothing but his job and now he’s famous, and a fraternity made a sign for school spirit was accused of racism against Native Americans. An example from the film is when Banksy
Of course we cannot begin a discussion of the work of Simmel and Benjamin without mentioning the influence of the poet Baudelaire, whose observations and writings in the mid-19th century on city life informed both Simmel and Benjamin’s perspectives of the modern condition, and resultingly their sociological approach to its examination. For Baudelaire, life in the metropolises of 19th century Europe – Berlin, Paris, London, etc – was an experience informed by the crowd; the masses that flocked to the cities; that filled the streets and walkways; of multifarious shape, form and grade. While some responded with dismay and disdain to such a mass (Engles and Poe), Baudelaire allows the experience to wash over him, refraining from such a critical perspective but observing with interest and describing within his works the interactions and dances between people. The observer watches the dance of variety; of the many; of the mass – he is the flâneur (Benjamin 1973: 128).
...e fulfilled with manufactured goods created by capitalism. This thought can be an extension and progression of Benjamin, who argues that art subjects the working class to conformity because, as consumers, they enjoy simple capitalistic distractions. Though something that is never mentioned by Horkheimer and Adorno is a form of art being taken back from the dominant ideology as a form of protest against the upper class. Benjamin uses the example of Dadaism and a type of “anti-art” movement. He believes that art can cause a shock to the individual that would not be an ideological distraction. Benjamin argues that art does not need to follow an ideological format but certain people, like Dadaism, can create to promote thinking and not passivity. In contrast Horkheimer and Adorno argue that the culture industry creates to feed the masses the ideology of the upper class.
Jean Beraud’s work Carriages on the Champs-Elysees, 1849, depicts the lifestyle found on the French streets during the time. Low key tones of color, an open composition, and impressionism stylings of the human figure all give an expression of a fast paced lifestyle with almost no escape from movement. Low key colors, meaning muted and darker tones, sharply contrast that of the pastel sky. Traditionally, sky being a metaphor for the freeness and open-minded abilities of opportunity, the darkly shaded people, carriages, and horses elicit the opposite thinking strategy of the city streets and business. As the receding lines fade into a cross section, as do the dark colors, crowding the canvas with busy activity.