Published: 23rd March, 2015 Last Edited: 23rd March, 2015 In this paper I have argued that street art in both stencil and graffiti forms should be considered viable forms of art. I have shown that while the location of these works might make them unconventional, and indeed deemed vandalism in many cases, that they are nevertheless important both as an expression of individual identity and as a mode of resistance. Like all art, they act to reflect the artist's ideas and the historical period in which he or she lived. They provide a break from tradition and they inspire the viewer, while also being aesthetically pleasing. While I differentiate some forms of street art from others thinking styles in critical thinking, and show that tagging is perhaps less likely to be considered "art" than stencilling or mural graffiti, I believe that street art generally should be recognised as an important part of our society and an expression of culture and heritage. Here therefore I would like to make a distinction between graffiti as street art and graffiti as tagging. I agree with Cooper et al (1984) that tagging does not hold the same aesthetic or expressive qualities as other forms of street art such as stencilling or graffiti murals. But what I find interesting about tagging is the fact that it involves anonymity and an alias 'which gives the writer … a new identity' (Walsh, 1996: 12). This idea I would like to explore further with reference to street art's illegality. I would like to consider the idea of street art as resistance as the first part of my argument for street art as a valid artform. As a form of self expression best college essay tips, street art is a creative method of communicating with the general public, in a forum much more open than an art gallery. Street art communicates the artist's identity and his or her ideas, and because it is visual, it appeals to people regardless of their cultural, lingual, or racial differences (Cooper and Chalfant, 1984: 66-67). Walsh notes that street artists see their art as a rebellion against a repressive political and economic order: against established art markets or gallery systems, against Western ideas of capitalism and against ideas about private property (1996: 47). What comes out of Walsh's analysis is that street artists are doing what all other great art movements have done before them - rebelling against established ideas and mores about what art "should be", and using the power of self-expression to appeal to certain audiences. In this way, street artists can be compared to groups such as the Fauves essays on process, the Futurists or the Impressionists, breaking from tradition and forging new ground in the world of art. According to Walsh, such aspects of street art make it important as an art form not only for its rebellion against art traditions, but those of politics and the state (1996: 49-50). This also fits into Camnitzer's argument that art should be recognised as 'a universal set of skills and values within which everybody has freedom of expression', showing how art as a form of resistance works: It is interesting to consider Walsh's ideas about the impermanence of street art as a unique artistic factor. He argues that because of its quick removal from surfaces by councils and other clean up services that street art needs to be appreciated as fleeting, especially as: Arguably, street art works to shape culture through resistance and rebellion while also influencing and 'perturbing' society because of its ability to straddle the line between vandalism and art. Because street art is unique both due to its location and often its themes, it has the potential to influence the viewer and create change. As Williamson argues, it is the resistive power of street art that makes it important because it allows for the expression of ideas outside hegemonic norms (2004). She gives the example of street art in South Africa during apartheid which was the means for individuals to speak out against oppression, thus showing 'that popular culture resistance has a vital role in the life of the community and the struggle for freedom' (2004: 8)
Using a number of alter egos, Leon Reid IV is a thinking man’s installation artist who pushes the limits of three-dimensional street art. Whether it is affixing shopping bags and bling to public statues (without harming them) or exploring the physical relationship of signage by slightly bending it, Reid IV isn’t vandalizing as much as pranking the public space with sculpture.
Inspired by Dick Tracy and stacks of comic books starring the square-jawed, hard-hitting detective an introduction for a persuasive essay, street artist Damon Johnson attaches his hand-painted comic stills on chain link fences surrounding abandoned (and sometimes toxic) lots around the city, adding more mystery to your urban explorations. His is a world of femme fatales, villains, and the occasional thorny rose in the industrial wild. The New York native tells us that themes of anguish and despair recur in his street pieces because he has fought inner demons himself—and naturally, there is a little autobiography in every artist’s work on the street. Public space has become a playground for artists of all disciplines in the last few decades, in part due to the popular embrace of graffiti, hip-hop culture, street art and the D.I.Y. movement. Thanks to a greater rate of participation than perhaps ever, public space is actually becoming more, well, public. Carving surly block prints for two decades, the graphically intense work of artist Dennis McNett has a wild side that borrows from Nordic mythology, skater culture, biker tattoos, and performance art. He’s well known for his high-energy parades of hellions in Viking-inspired ships, wolf-bats, war shields, and terrifically ornate costumes, masks lab report write up example, and head wear. Re-imagining his art as urban sculpture, McNett occasionally gives the street a shocking installation that scares the heck out of people. Next thing you know, they’re posing for a selfie with it. A queen of the crochet art form on the street, Poland-born New Yorker Olek dreams big and crochets bigger. We’ve called her the Christo of street art, as Olek transforms spaces and objects with her signature crocheted camouflage in hot pinks and purples, including iconic forms by other artists—like Bernard Rosenthal’s Astor Place Cube, Wall Street’s charging bull statue essay formats outlines, life-size human sculptures by Antony Gormley, even a bomb-shaped sculpture off the coast of Cancun for the underwater museum there. While the work is accessible and can be playful, Olek considers herself an activist with her work, creating her large-scale crochet transformations to bring attention to LGBT issues in Russia, homelessness and poverty in India, a hero of the Holocaust, and the prevention of violence against women and girls in Mogadishu. Art is Trash (aka Francisco de Pájaro aka El Arte es Basura) has been converting garbage into art for about six years, in cities like London, New York, and his native Barcelona. Following his gut and imagination, Art is Trash utilizes filled garbage bags, packing boxes, and discarded furniture as canvas and building material for his sculptural installations that are satirical and entertaining. With tape and hand-painting on the spot and in-the-moment, he thinks of his work as a free expression that is personal, political, and comical. Once the work is finished, he walks away sample of a thesis, leaving his art for the sanitation department.
BY STEVEN HARRINGTON // PHOTOS BY JAIME ROJO (CO-FOUNDERS OF THE BROOKLYN STREET ART BLOG) To illustrate the wide range of participation on the street today, here are a couple of cool Zipsters adding their voices to the conversation, as well. Street art has redefined the way that artwork is viewed. The traditional paintings in frames and sculptures in art museums and galleries have a limited audience that consist only of those who intend to observe art and have an interest in it. Therefore how to write one word essays, the artist’s statement does not reach out to a variety of people. However, street art exists everywhere that the public can see—subway stations, walls of buildings, and the streets in general—and people of all different types of interests essay on qualities of a good student, political views, religious beliefs essay paper writers, race, and even age, are exposed to the artwork and its message. Street art, with its typical vibrant colors and eye-popping effects, catch the public’s eye, drawing their eyes up from their newspapers and smartphones, showing that life is about more than one’s work or busy schedule, and that one should appreciate the beauty and culture all around. Street artists seem to ignore the fact that graffiti and public defacement is illegal, risking prosecution for the sake of sharing their art because of how important it is to them. In fact, the fact that they are going against the law is a statement in itself, as it shows rebellion against the restraining laws of the government, and makes their artwork much more significant and meaningful. Banksy, for example, declared that for him, street art is simply the underclass’s revenge on the more privileged upper class (squidoo.com ). Nevertheless, it is his way of expressing himself, and at the same time, making his art relatable for other spectators. As Elura Emerald, an American artist and a supporter of street art, claims, “artists who paint on the street are merely expressing themselves, not hurting anyone and should not be punished but appreciated and celebrated" (Akbar). “Once upon a time……a story appeared on a wall/but it only progressed when/the wall was repainted/and so a strange harmony was found/between two opposing forces/The end.” “Street artists do their work for a reason. Some of them do not like artists who make so much money in galleries and museums. They choose street art because it is closer to the people. Some artists try to express their political opinion in their work, in order to protest against big business and corporations. Others like to do things that are forbidden and hope they don’t get caught” (hackney.com ). Is it there any definition for street art? Actually not as it combines a wide range of various kinds of art forms and it is difficult to describe them by one common definition. Generally it is a free public art that is inspired by the urban environment and includes a lot of extraordinary styles such as graffiti, wheatpasting, sticker and guerrilla art, video projection, street posters and installations samples essays about myself, art intervention and many others.
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