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Is graffiti art or crime
Graffiti in new york essay
Graffiti in new york essay
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“This world is but a canvas to our imagination” (Thoreau). The world is quite literally a canvas for graffiti artists, and these two opinion editorials cover the desire for this medium of art to be appreciated and showcased. Eric Felisbret wrote “Legal Venues Celebrate Graffiti as an Art Form” which was published on July 16, 2014 in the New York Times. Felisbret’s article was about creating more legal venues to showcase graffiti. Kathy Grayson wrote “L.A. Graffiti Exhibition, ‘Art in the Streets,’ belongs in N.Y.C.,” which was published on June 26, 2011 in the New York Daily News. Grayson wrote her article to persuade readers that “Art in the Streets” belongs in New York. The articles were simultaneously the same and very different in their content. Even though the specific messages were diverse the purpose was to persuade the discourse community, who value law, education, and their community, into having graffiti displayed as art. These two …show more content…
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
Jonathan Kozol revealed the early period’s situation of education in American schools in his article Savage Inequalities. It seems like during that period, the inequality existed everywhere and no one had the ability to change it; however, Kozol tried his best to turn around this situation and keep track of all he saw. In the article, he used rhetorical strategies effectively to describe what he saw in that situation, such as pathos, logos and ethos.
In the book Into the Wild, Jon Krakauer wrote about Christopher McCandless, a nature lover in search for independence, in a mysterious and hopeful experience. Even though Krakauer tells us McCandless was going to die from the beginning, he still gave him a chance for survival. As a reader I wanted McCandless to survive. In Into the Wild, Krakauer gave McCandless a unique perspective. He was a smart and unique person that wanted to be completely free from society. Krakauer included comments from people that said McCandless was crazy, and his death was his own mistake. However, Krakauer is able to make him seem like a brave person. The connections between other hikers and himself helped in the explanation of McCandless’s rational actions. Krakauer is able to make McCandless look like a normal person, but unique from this generation. In order for Krakauer to make Christopher McCandless not look like a crazy person, but a special person, I will analyze the persuading style that Krakauer used in Into the Wild that made us believe McCandless was a regular young adult.
One of the most important aspects of writing, according to the AACU writing rubric, concerns sources and evidence (“Writing Rubric” 2015). The rubric clearly states that an author must use “sources to support ideas in the writing…quotes, if applicable, are generally accurately placed. Citations are correctly formatted in MLA or APA” (2015). The Visual Rhetorical Analysis assignment, for English 1002, demonstrates the trouble I experienced with this significant area in writing (Brizek, “Advertising” 2015). Therefore, the revised version of the Visual Rhetorical Analysis demonstrates improvement in the use of sources and evidence as well as in citations, an essential are of writing, because the revisions illustrate proper citations as well as a stronger use of sources, as required by the writing rubric (Brizek, “Advertising” 2015; Brizek, “Revision” 2015; “Writing Rubric 2015).
The difference in the approach between Margaret Kilgallen and Julian Schnabel can clearly be seen on the canvas. Ms. Kilgallen preferred to paint images that were flat yet striking; she favored street art over the main stream types of fine art. Street art is considered graffiti by a large number of people, since it is frequently placed without the property owner’s knowledge.
Inside the yard now stands a freshly painted mural, sixty feet wide and twelve feet high. The work is the result of weeks of designing and planning, and with luck it might last as long on the train as it already has on paper. What the boys have done, what has taken place inside that trainyard, is a work of art. [Let us begin with a basic assumption. One may object to graffiti on social or moral grounds, but only in the most conservatist terms can it not be considered “art.” Any idea of art which does not go out of its way to disinclude vandalism will, in fact, contain graffiti. We will, then, put aside social and moral considerations for the duration, and consider graffiti as art.]
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
This photograph, taken in 1967 in the heart of the Vietnam War Protests, depicts different ideologies about how problems can be solved. In the picture, which narrowly missed winning the Pulitzer Prize, a teen is seen poking carnations into the barrels of guns held by members of the US National Guard. This moment, captured by photographer Bernie Boston symbolizes the flower power movement. Flower power is a phrase that referred to the hippie notion of “make love not war”, and the idea that love and nonviolence, such as the growing of flowers, was a better way to heal the world than continued focus on capitalism and wars. The photograph can be analyzed through the elements of image as defined by ‘The Little Brown Handbook’ on page 86. There are a total of nine elements that contribute to the communicative quality of an image. The message that this particular image tries to convey is the strong sense of way that conflict should be handled; by way of guns or by way of flowers. The ‘way of guns’ is violence and excessive force which heavily contradicts the ‘way of flowers’ which is a more peaceful and diplomatic way of handling conflict or disagreement. This photograph depicts these ideologies through its use of emphasis, narration,point of view, arrangement, color, characterization, context and tension.
Pollan’s article provides a solid base to the conversation, defining what to do in order to eat healthy. Holding this concept of eating healthy, Joe Pinsker in “Why So Many Rich Kids Come to Enjoy the Taste of Healthier Foods” enters into the conversation and questions the connection of difference in families’ income and how healthy children eat (129-132). He argues that how much families earn largely affect how healthy children eat — income is one of the most important factors preventing people from eating healthy (129-132). In his article, Pinsker utilizes a study done by Caitlin Daniel to illustrate that level of income does affect children’s diet (130). In Daniel’s research, among 75 Boston-area parents, those rich families value children’s healthy diet more than food wasted when children refused to accept those healthier but
The movie trailer “Rio 2”, shows a great deal of pathos, ethos, and logos. These rhetorical appeals are hidden throughout the movie trailer; however, they can be recognized if paying attention to the details and montage of the video. I am attracted to this type of movies due to the positive life messages and the innocent, but funny personifications from the characters; therefore, the following rhetorical analysis will give a brief explanation of the scenes, point out the characteristics of persuasive appeals and how people can be easily persuaded by using this technique, and my own interpretation of the message presented in the trailer.
If one drives south on I-69 enough, they may begin to remember that “Bob loves Brenda” or that some bodies, only referred to as we, “hate people.” These things are written on the bridges, billboards, and road signs of the interstate to advertise the artist’s message to the general public, while drivers are left to think why should they care who loves who and who hates what. Graffiti is a part of the world that people see everyday and whether it is truly artful or a visual impediment is up to the individual.
Though I lived in Chicago I followed a similar path. New York is considered the birthplace of artistic graffiti, even though the act is preformed all over the world before 1960. The history of graffiti is recent and brief, but has a monumental place in the art world. It is the only art movement that is illegal. And it does not contain a series of welfare kids from torn and broken single-parent homes that are screaming for attention. The phenomenon differs from all other sorts of writing on the bathroom wall of a run-down bar. In New York 1960, teenagers began to write their names all over, I mean everywhere, soon are more surfaces written on then open space. All of these names are appearing, but they were nicknames, few choose to use their real names.
The Letter from Birmingham Jail was written by Dr. Martin Luther King Jr. in April of 1963. Dr. Martin Luther King Jr. was one of several civil rights activists who were arrested in Birmingham Alabama, after protesting against racial injustices in Alabama. Dr. King wrote this letter in response to a statement titled A Call for Unity, which was published on Good Friday by eight of his fellow clergymen from Alabama. Dr. King uses his letter to eloquently refute the article. In the letter dr. king uses many vivid logos, ethos, and pathos to get his point across. Dr. King writes things in his letter that if any other person even dared to write the people would consider them crazy.
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
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.
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...