In Frank Romero's artwork "Going to the Olympics, 1984," there are many significant figures that symbolize the life of Los Angeles and the Olympics. There are obvious icons of L.A. like palm trees representing the beautiful weather and the very close cars representing the horrible traffic. There is also a stamp that may symbolize the communication back in the 1980's as well as the Goodyear Blimp, which often advertised its company. The wrestlers are there because during that time wrestling was a pretty major event as WWE matches were held at the Staples Center quite often.
Looking at the cars and their simplicity, Romero might see the cars as another naturally occurring thing in L.A. – almost as if they were trees. He puts a heart on top of
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The Caltrans didn't even notify him that the mural would be covered up which is very dishonorable, given the fact of how big of a figure he is in Los Angeles. I would have at least tried to make something work or find a different solution to the problem had the city told me ahead of time that they would take action towards this. I understand that the taggers could no longer be tolerated because these actions make a bad reflection on the city. If the painting had stayed up, other taggers might see it as a sign that the city no longer cares if they vandalize the city. The city couldn't put up with it so they covered it up without delay. There have been cases like this before such as Kent Twitchell's freeway walls being heavily defaced. Twitchell says," I'm not one who likes to have vandals with spray cans dictate the culture of a city." Seeing vandalized artwork will naturally upset the artist or make them feel some type of way about it. The purpose of putting the artwork up is for it to symbolize a certain …show more content…
Some members of the Caltrans organization are in favor and support Frank Romero because of his iconic role in L.A. Others don't want to help him because it's just a waste of money and time that isn't really necessary. In Adolfo Huzman-Lopez's article titled "End is near for some LA freeway murals due to graffiti," it says that "Caltrans spokesman Patrick Chandler said taggers returned, and that's why his agency agency launched, on a pilot basis, the Mobile Mural Restoration Project. 'After spending so many hours and days and several thousand if not hundreds of thousands of dollars to repair these, still vandals attack and defend these murals,' he said" He's saying that even after the huge amount of money spent the murals will continued to be vandalized over and over again. It also says," A Caltrans spokesman said freeway graffiti removal is an expensive process that can expose its crew to danger. He said the agency can paint over the murals if artists don't maintain them. That's what's happened - without the artists' permission - to at least half a dozen freeway murals." On the other hand MCLA's Isabel Rojas-Williams would start restoring the mural on November 26, 2013. The restoration had been getting delayed but eventually would get restored. I think they are doing the right thing by trying to restore it, but at the same time Romero should check his painting regularly to maintain it since the cit arguably owns it but
On February 26, 1973, Mayor John V. Lindsay’s graffiti task force drafted an anti-graffiti plan that featured “increased security measures in those areas of the city where security may deter vandalism.” As crime increased in majority black and Latino neighborhoods, police detectives associated graffiti in these areas with the violent crimes surrounding it. Technically, the police had reason to prosecute graffiti as a crime; the term graffiti addressed the illegal defacing of public and private properties. When Bernie Jacobs of the New York City Transit Police asserted that, “graffiti is not an art...I can sure as hell tell you [it’s] a crime,” Style Wars viewers see how vehemently detectives disparaged graffiti work and writers. Despite the fact that writers of color fought hard for free expression, racial profiling continued to constrain the process of getting the materials needed to make graffiti. Writer Skeme stated that, only “niggas who be high when they come from school...break windows,” and then commit violent crime; nevertheless, a white youth commented that “everybody [thought]” black and Puerto Rican kids wanted to rob aerosols and spray-paint from stores. Even though most graffiti writers of color did not commit violent crime, police detectives still labeled graffiti writers of color who wanted to buy artistic
In Frank Romero freeway mural " Going to the Olympics " painted in 1984, we can discern his engaging artwork by the colors he's using and the area he chose. In the mural there's five old fashion cars, five brilliant hearts on top of the car, and if you look closely you can see two sports that are involved in the Olympics, the mural speaks LA. He chose this location and kind of idea because in 1984 there was a Olympics at LA. Something unacceptable occur to the mural. Romero artwork was unfortunately ruined by street taggers.
Building owners give permission to draw a graffiti art on walls because, it makes buildings meaningful, attractive and colorful such as the “Five Pointz” and “Top to Bottom” buildings. From my personal experience, during in our trip “Top to Bottom”, I observed that the building was covered by different type of colorful paintings, pictures and, writings. That pictures inspired and amazed me. Every picture has a different meaning and artist wants to show people by his graffiti art. Also, People use the building wall to raise their voice against of any unlawful work and show their ideas. For example, in 1971, Bangladesh fought with Pakistan to get the freedom. Bangladeshi graffiti artist wrote the slogan on the building wall to inspire people to fight with Pakistani army. Also, they wrote what they wanted from Pakistani government and it was the easiest to express people’s voice against of Pakistani government. So, I think graffiti art should belong the building
Frank Romero was very upset when he had found out that the city of Los Angeles had painted over his mural without telling him they were going to be completely removing his mural. The article says "...painted over in solid coats of Caltrans gray and judging by the paint, it looks like it was an official wipe-out. Located alongside the 101, they were important enough be conserved, but evidently the constant tagging made it too costly to consider restoring them yet again." Due to the Taggers they had no choice but to cover it up the article says "End is Near for some LA Freeway murals due to Graffiti” which is really sad to the artists who paint murals on freeways because of taggers are destroying a beautiful
...dge at Westside Park has the remnants of many faded paint jobs that cover up graffiti from one generation only to reveal the next. Graffiti is a costly crime, ranging from $7-15 billion a year to erase from bridges, street signs, and public buildings. And once it has been painted over, it just becomes a blank canvas inviting new graffiti. There are not many preventative measures in Muncie, other than neighborhood watches, which are likely to decrease the amount of graffiti crimes in the future.
At first glance the mural can be a lot to take in at once. The paint covers every inch of a concrete wall. The wall is very long and it runs through one of the parking areas of
In the mural we see several cars with a heart placed above it. The mood is definitely set by the choice of colors.Romero uses a warm and inviting color palette. The color of the hearts placed above the cars remind me of a rainbow and a rainbow to me means happiness. The mural gives out an aura of happiness and most of all love. Here in LA we use cars to go on adventures with the ones we love, to go to work, or to just distract ourselves and it's essential to our everyday lives. The fact that Romero chooses to place the mural in a freeway where cars come and go all day is astounding. Where he chooses to place the mural might infer his feelings towards the city's car culture. He stands proud against his work and his love for our cars. The location of the mural can deliver a message of happiness to anyone that passes by it. Because of his symbolic images and choice of color I can infer that Romero feels proud and loves our city's car
Mention the word graffiti and what typically comes to mind is something unpleasant and distasteful like indecent language scribbled on a wall of a store or crude pictures. Most graffiti is characterized as vandalism on property that does not belong to the culprit. Graffiti also displays negative graphics that promote some type of vulgar message such as violence, sex, drugs, gangs, and racism. On the other hand, when the terms “street” and “art” come together, a blast of colorful creations upon blank slates on the street comes to mind. Although street art is technically considered graffiti, it is a type of graffiti with positive qualities, but certain figures in society find street art to be, in some way, disruptive. If used properly, street art can be appreciated artistically and socially. Despite the negative stigma attached to graffiti, street art has emerged as a progressive valuable art form whose vast history, surge in popularity, and urge for social change warrant its classification as a fine art.
On the contrary, many argue that since unauthorized graffiti is illegal, it is not art, instead it is vandalism. The New York Times insisted that graffiti’s most important quality is the fact it is illegal. However, regardless of its legality, graffiti is art. A flower growing in the “wrong” place is still a flower. Likewise, art in the “wrong” place is still art.
The identity of a graffiti artist is hardly ever known unless they want to tag their art with their name or a nickname. Graffiti writers as a subculture are trying to express their political views through civil disobedience by painting pictures that speak out against the government. This subculture developed because they were tired of being oppressed by the government. Graffiti is one of the most enduring acts of protest. It is an important tool for the resistance movement as a way to publicize their protest. It is a visible and powerful form of protest that is going to promote change in the social justice by allowing oppressed groups of people express their viewpoints without being penalized by the
Public art conquers so much more than the simple task of making the street a little easier to look at. It involves those who created it, those who supplied the means to create it, and those whose lives it continues to impact. Wall paintings in particular take an important role in working for a greater good. Judith F. Baca, a Hispanic-American woman and artist- activist has contributed an unaccountable amount to the mural movement in Los Angeles. She has accomplished this by giving individuals the chance to create art and develop a sense of pride, she has taught younger generations a respect for their ethnic identity, and from the many walks of life that continue to view her work in everyday places she has encouraged social change.
Within the last few years, graffiti has been deemed an acceptable and tasteful genre of art. Long gone are the days where the spray can belonged exclusively to the local delinquent. From the past to present, there has been a shift in how street art is recognized by the general public and the government. Laws and policies are being put into place that both defend and threaten the promulgation of this creative medium. By both protecting and prohibiting, the government displays an inconsistent and confusing relationship with street art. When art is so subjective, it can become challenging to delineate the fine line between vandalism and creativity. This essay will discuss the changing public perception of graffiti, the trademark and copyright battles between graffiti artists and property owners, the categorization of street art as an artform, and the beneficial aspects of commissioned street murals.
It is a ridiculous belief that just because graffiti is done somewhere without consent, it throws out the notion that it is still art. Sure, the piece of work was done illegally but why can’t the work still be appreciated and enjoyed. Art is art wherever it is found. The location of the piece does not change that. In fact, graffiti can kill two birds with one stone. First, at the foundation it is a form of art. Second, on top of that foundation a message can be erected and directed. But as the saying goes, beauty is in the eye of the beholder.
In many years, graffiti has been considered as vandalism but many local artists make the effort to change that image. Statement of our view: Graffiti is a form of modern art and many people appreciate the work that many talented artists make in Los Angeles downtown. At the same time, they promote to avoid drugs and gangs. Supporting reasons: First reason: Artists can express a broad range of feelings, emotions and even social and politics aspects in their murals.
Looking from the taggers' point of view, one can understand why taggers and graffiti artists draw and do graffiti, but this does not justify the fact that often times this form of self-expression is not acceptable when it is done on other peoples property. Having the opportunity to listen (film, class, talk show) to why taggers and graf...