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Essays for graffiti
Essays on graffiti art alevels
Essays on graffiti art alevels
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“The principles of true art is not to portray, but to evoke.” Jerzy Kosinski My body stood stagnant while my eyes stared at the LOVE mural in Highland Town. My facial expressions showed concentration yet my mind was a revolving door of words formulating into questions and incomplete thoughts. This simple four letter word made me feel so many emotions that never wanted to stay suppressed. “Hey kid, you know I created this to make people happy right?” I looked over at the well-known street artists and gave him a slight chuckle “Yeah…funny isn’t?” Michael gave me a quizzical look “That something created out of genuine joy, makes someone want to cry.” “It evokes emotion…you’re feeling what this city is crying for — love.” I nodded my head and continued to allow the revolving door to spin thoughts in and out of my mind. I diverted my view from the mural I saw on basically every hipster's laptop and back at the man who created this art. Michael nodded at me as if silently saying, “Go ahead and say it.” “How do you validate your art as true art?” I cringed at the way I had worded the question. Michael gave me a small smirk “You feel something in your chest right?” I nodded “Then its art kid.”
Society scrutinizes graffiti to be a
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Individual artists became crews who not only had graffiti artists yet also rappers. Rappers were the poets behind the images, they put what you view on the passing trains into words for your ears to digest if your eyes didn’t understand. This form of art displayed such a freedom of expression out of oppression the next generation had a voice, such an influence that it spread across the world inspiring other artists to express the voice of the communities that were and are viewed as “less than.” The constant message graffiti throughout the years has been trying to convey is all these city needs is LOVE just a little
Within the impoverished urban streets arose a youth culture captivated by infamy and self-pride. A youth culture virtually undistinguishable from members of modern society with a passion, setting them apart from the community. The members of this underground subculture could be your next-door neighbor, your son or daughter, or the contractor repairing your roof, yet you would have no idea that they strive to “bomb” objects and surfaces found in everyday life. It is the subtle differences that distinguish a graffiti artist from the average member of society, such as their, mindset, desires, speech and active lifestyle.
This book was also one of my first encounters with an important truth of art: that your work is powerful not because you convey a new emotion to the audience, but because you tap into an emotion the audience already feels but can't express.
Since its emergence over 30,000 years ago, one of visual art’s main purposes has been to act as an instrument of personal expression and catharsis. Through the mastery of paint, pencil, clay, and other mediums, artists can articulate and make sense of their current situation or past experiences, by portraying their complex, abstract emotions in a concrete form. The act of creation gives the artist a feeling of authority or control over these situations and emotions. Seen in the work of Michelangelo, Frida Kahlo, Jean Michel-Basquiat, and others, artists’ cathartic use of visual art is universal, giving it symbolic value in literature. In Natasha Trethewey's Native Guard, Kazuo Ishiguro’s Never Let Me Go, and Joseph Conrad’s Heart of Darkness,
In Style Wars, one sees how social marginalization affected graffiti writers in 1970s and 1980s New York. Firstly, Style Wars chronicles how the city government employed racist policing and propaganda to criminalize writers of color. Secondly, the documentary shows that newspapers and TV networks unequally privileged writers of higher socioeconomic status through front-page and prime-time coverage. Thirdly, the film depicts graffiti writers who conformed to masculine norms as disproportionately visible throughout the city. Although many writers featured in Style Wars minimized barriers against making art, legal racism, classist media coverage, and interpersonal masculinity limited recognition for certain writers.
She starts of by reminiscing about “graffiti’s beginnings” and how it was about “empowering people who had no voice” and graffiti was an “exhilarating chapter in the city’s history” (Grayson par. 5). This is appropriate for her audience because it reminds them why graffiti belongs in New York, and makes them happy to remember this beautiful artwork they remembered seeing. She then goes on to make her audience feel guilty for the negative conception they have about the artists and their art. She evokes that guiltiness when she says, “it is ludicrous to think that an exhibit at the Brooklyn Museum would have inspired gangs of graffiti goons … You know what inspires tagging? Bad architecture. Commercialism. The sanitized state of the city” (Grayson par. 9). It is appropriate because it makes the audience realize that this was a great thing for the city and they need to get it
From New York to the rest of the world, Jeff Ferrell’s “Urban Graffiti” aims to show how graffiti serves as resistance to social arrangements and political power for many. The youth use graffiti as a way to provide alternate solutions for oppressions and cultural conditions. Ferrell demonstrates how young artists utilize this art form as a way of raising awareness and resisting social constraints. For example, in London, certain billboards in 1982 were aggressively altered to advocate the voice of the feminists and animal activists. Graffiti writing usually takes place in urban areas where discrimination and division of racial groups are heavily seen. Jeff Ferrell recounts how these young taggers work exclusively during late hours to avoid
Though people can look into color and composition, others can still even look into the source of the art itself. Cole goes deeper, delving into the source of the art, looking in particular into the idea of cultural appropriation and the view a person can give others. Though it is good for people to be exposed to different opinions of a group or an object, sometimes people can find it difficult to tell the difference between the reality and the art itself. Sometimes art can be so powerful that its message stays and impacts its audience to the point where the viewer’s image of the subject of the art changes entirely. Cole brings up an important question about art, however. Art has become some kind of media for spreading awareness and even wisdom at times, but in reality, “there is also the question of what the photograph is for, what role it plays within the economic circulation of images” (973). Cole might even be implying that Nussbaum’s advertisement can sometimes be the point of some media, and that sometimes the different genres of art can just be to make someone with a particular interest happy. One more point that Cole makes is that “[a]rt is always difficult, but it is especially difficult when it comes to telling other people’s stories.” (974) Truthfully, awareness and other like-concepts are difficult to keep going when a person or a group is not directly involved.
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
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.
Graffiti has been on the rise in popularity since its beginnings fifty years ago. Danielle Crinnion provides a brief history of graffiti arguing that “Philadelphia
School both reflects society and it adopts principles that aim to reproduce society. Because inequalities exist within society, many educators and specialists use education to try and combat the inequalities by starting in a microcosm. Some of these attempts, such as the curricula seen within To Sir with Love and Stand and Deliver, aim to work within the existing realm of society, but not to change its structure. Others, like Summerhill, aim to break down educational expectation and give power to the students. These programs however, lack certain principles that would make them ideal for students and society.
One of the individuals said that they tag buildings to get their name out, so that everyone knows who they are. Another said that he uses graffiti to express his emotions that he cannot say, he said he likes knowing he’s getting his voice out. One man even said that he looks at Picasso and then he looks at the street art, and he sees the graffiti as being more impactful and artistic. I found this interesting because their motivation behind graffiti is the same as their motivation to rap, so that they can be
The mind creates the emotions and ideals responsible for art. The brain is capable of imagining glorious things, and art is the physical manifestation of these ideals. These ideals are usually intense emotions with aesthetic power (Wilson, 220). Art organizes these emotions in a matter that can easily express the ideals to...
"A picture can paint a thousand words." I found the one picture in my mind that does paint a thousand words and more. It was a couple of weeks ago when I saw this picture in the writing center; the writing center is part of State College. The beautiful colors caught my eye. I was so enchanted by the painting, I lost the group I was with. When I heard about the observation essay, where we have to write about a person or thing in the city that catches your eye. I knew right away that I wanted to write about the painting. I don’t know why, but I felt that the painting was describing the way I felt at that moment.
The arts have influenced my life in amazing ways. Throughout my life, art has been the place I run to and my escape from the world. As I’ve grown older, art has become so much more than that. Every piece of art I create is a journey into my soul. It’s a priceless way to deal with my emotions and my struggles. I create art not only because I enjoy it and because I want to, but because I have to. Somewhere deep inside there is a driving force, urging me to put my heart down on paper. I become emotionally attached to each of my pieces because they are like dashes on the wall marking my growth. Each one is the solution to a problem I have dealt with and overcome.