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Essays on graffiti crime or art
Essays on graffiti art
Essays on graffiti crime or art
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Introduction.
A research project into the perceptions of graffiti by certain
individuals and groups can be seen as having grounding in both
sociology and criminology. The sociology of deviance and delinquency
in urban areas, as well as the socio-historical development of
graffiti as a cultural practice provides a basis for further research
into the effects of this phenomenon. In terms of criminology, the
extent to which the police and local authorities see graffiti as a
problem is also worth investigating. Various theses have analysed the
link between minor offences such as low level property crime, and the
perceptions of certain public spaces as run down or insecure. As
students of sociology the five researchers involved in this project
have an interest in how graffiti provokes a societal reaction to the
changing environment of these spaces. In addition to this, all of the
researchers have some limited experience of criminological studies
which would be enhanced by an analysis of how government legislation
and local initiatives have affected communities and individuals
exposed to graffiti.
In terms of government legislation, graffiti as a form vandalism is a
criminal offence under the Criminal Damage Act 1971. This act,
supplement by section 33(1) of the Magistrates Court Act 1980, gives
penalties for minor vandalism such as graffiti as a maximum 2500 fine
or up to 3 months imprisonment. The act also makes possession of the
tools of graffiti illegal where they are intended to cause damage.
Under New Labour, the Crime and Disorder Act 1998 gave rise to
Anti-Social Behaviour Orders (ASBOs). This allowed police and local
authorities to restrict the movement or behaviours of any individuals,
over 10 years old, who where found to cause a nuisance to others. As
public concerns grew, the 2003 Anti Social Behaviour Unit proposed new
measures to reinforce the control of such behaviour as graffiti. These
new measures included the use of fixed penalty notices for 16 year
olds found defacing properties; banning the sale of spray paint to
under 18s; new police search powers; and power for councils to tackle
graffiti on the streets. In Greater Manchester, a police metro unit,
like others in the UK, has proactively been trying to identify
perpetual graffiti artists through photographing examples on public
transport and contacting local schools. There have also been attempts
to trace the sale of aerosol cans and marker pens back to the
graffitist. Government legislation though, may be responsible for
deterring some of those engaged in graffiti, but some suggest that
without such legislation there would be less incidents of this
particular property crime.
less restraint yielding less motivation to resist. (Cavan, 1995)
Traditionally local initiatives have seen the removal of graffiti in
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.
It’s 11:00 p.m. on a Tuesday when three young men, barely high school age, slip through a chain-link fence and into a New York City trainyard. Each carries a duffel bag, from which can be heard the rattling and clanking of spray cans. Six hours later, they re-emerge, their hands stained with paint and their bags almost empty. What have they done?
2002 Controlling Crime The Open University, Sage publications (Chapter 1 p.28) Wilson, J, Q and Kelling G, 1982 “Broken Windows” The Police and neighbourhood safety printed in Criminological Perspectives: Essential Readings 2nd edition 2004 pages 400 410 edited by John Muncie, Eugene McLaughlin Personal experience as Hertfordshire County Council representative on Watford and Three Rivers Crime and Disorder Reduction Partnerships
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
The history of the underground art movement known by many names, most commonly graffiti begins in Philadelphia, Pennsylvania during the mid to late 60's, and started with bombing. The writers who are credited with the first effort are CORNBREAD and COOL EARL. They wrote their names all over the city gaining attention from the community and the local press. Then the movement made way to New York City where the teenagers would write graffiti on the subways. It is unclear whether this concept made way to New York City on purpose or if it was an accident.
Art is an expression of one’s mind or imagination through drawings and paintings on a canvas or words written in a book. Graffiti is an expression as well of one’s imaginations or feelings through words, or drawings displayed on a surface such as a building, wall or subway train.
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.
Vandals; Cornbread, Taki 183, Phase 2, Banksy, Jean-Michel Basquiat are only a few of the OG street artist who were able to take claim of their identity and express their art through their graffiti.
Wilson and Kelling argued that if behaviour such as graffiti, rowdy behaviour, drunkenness and vandalism is un-tackled this can turn stable neighbourhoods into broken down neighbourhoods with fears of crime. They further argued that behaviour that is left unchecked likewise properties can lead to a breakdown of community control. This is because bad manners causes fear which leads to avoidance and some residence moving away, this promotes informal social control that paves the way for more extreme types of violent behaviour and crime. To stop the breakdown of community control, Wilson and Kelling proposed that any unfavourable act should be tackled immediate. If not, this leads the way for individuals to push the boundary and attempt more serious crimes. They believed that through policing of incivilities this was possible. (Maguire, Morgan and Reiner, 2012)
Within the debate of whether graffiti and tagging contributes to the art of the scape of a city, or if it merely adds to the pollution, both perspectives have merit. Ultimately, there will be a prevalent set of groups that believe strongly that graffiti or tagging constitutes vandalism, even though graffiti can be regulated such that it actually becomes its own art form that contributes to a city’s identity. However, this debate as a whole, as Alain Milon asserts, is the result of media’s dilution of the issue, and lacks the attention to detail to “determin[e] esthetic classifications” of graffiti and tagging as art or as vandalism (Durand 90).
Graffiti is a form of art that people use to express themselves and to convey various messages to people in a particular community. In the movie "Graffiti Verite':. One of the graffiti artist explained that his purpose in doing graffiti is that it allows him to "express his anger' on the wall. Another kid by the name of "Jipsie" said that graffiti is a "form of growth". There were several different explanations that artists shared as well as several different reasons why they like graffiti. The common theme among the graffiti artist and taggers was that graffiti is simply a form of self-expression (Bryan). At the end of the film one tagger made a comment and said, "graffiti is not vandalism, but it is a beautiful crime". This comment did not make sense to me. Committing a crime, a hideous act, is not a beautiful thing to do by any means. Graffiti does not mean people can go around and draw and spray paint on other peoples property. Regardless of what types of graffiti are being expressed by the tagger, this type of self expression is considered vandalism when people decide to draw, destroy, or violate any persons property without consent. As a result of taggers committing the crime of vandalism, property owners, concerned citizens, and law enforcement officers spend too much time, money, and energy trying to put an end to the unlawful act of vandalism.
Because of the amount of graffiti on our school has increased, we have to figure something out to stop it. One way we can have it be stopped is by putting up signs that say if vandilized you will be arrested. That will scare them away so they wont do it again. Another way we can get people to stop doing graffiti is by putting cameras all around the school. That will let us see who did it so we can catch them. In conclusion graffiti has increased, and we need to stop it now.
Although street art and graffiti art seem very similar, upon closer examination the differences in technique, function, culture, and intent are revealed (Weisburg.) ‘“Graffiti (sgraffiti), meaning drawings or scribblings on a flat surface and deriving from the Italian sgraffio (‘scratch’), with a nod to the Greek graphein (‘to write’), originally referred to those marks found on ancient Roman architecture”’(Weisburg). Though, it is unknown when or where graffiti first made an appearance; modern graffiti did not come around until the late 1960’s to early 1970’s in New York. The term “tagging” is the modern form of scratching (Weisburg). It also is considered the origin of all modern graffiti, including street art.
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.
Graffiti started in the 1920s when gangs would tag train cars and walls to mark territory mainly in New York City. Graffiti took a different turn in the 1970s when young adults decided to use street art as an outlet to express their political and social outrage. This movement had soon gained the attention of the “adult” world. Graffiti was known as “creation through destruction” and to this day is still considered illegal in most parts of the world. In modern street art the mediums used have evolved past spray paint and now artists are using different methods with spray paint to progress their works past crude tags.