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The importance of critical analysis
Critical analysis and evaluation
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In an article written by Cara Buckley entitled “Night Falls, and a Graffiti Mecca Is Whited Out”, she emphasizes clearly the disappointment of majority of people after the 5Pointz building in Queens has been whitewashed as she mentioned in her article “Erasing the work of hundreds and seemingly putting the final nail in the long battle between the building's owners, who plan to erect luxury apartments, and the artists who fought to save it”. She also argues a very common conception to attract people attention in the beginning of the article such as believing graffiti as an act of vandalism. However, most people believe that the conception is not applicable to the 5Pointz Building in Queens due to the uniqueness of its identity that the building …show more content…
While the author actually did a great job in conveying her message by providing many statements from different people to prove their disappointment and drawing their emotional appeals in the article when the building has been whitewashed, the author did not emphasize her credibility in writing an article and thus making her argument become less convincing. Firstly, it is obvious that the author has a very good sense of logos when writing an article as she composed her writing with countless number of statements from public to prove her argument. In this article, she interviewed more than five people, varied from the street art artists to the owner of the building, to convince the society that most people felt broken-hearted as her when the 5Pointz has been whitewashed. The statements that …show more content…
Without a good ethos implied in an article, reader will easily feel doubtful on the statement she made. According to the New York Times’s website, it states that Cara is actually a very highly experience person in the newspaper company since she has been working before the Iraq War for Times’s Baghdad. Her expertise can be proven from the appealing hook that she managed to include at the beginning of the “Night Falls, and a Graffiti Mecca Is Whited Out” article in order to attract people attention to read it until the end. Moreover, she also has earned her master from a well-known university, Columbia University’s School of International and Public Affairs, which shows she an expert in journalism field (New York Time, 2014). However, this article written by her did not really shows her credibility since she only provides the reader with numerous of evidences, but without deeper explanations explanation on each of the evidence that she provides. For instance, the writer quoted from Marie Cecile Flaguel, a representative from a group that has contributed to the arts in 5Pointz, that “This is the biggest rag and disrespect in the history of graffiti" without explaining what do the words means. This pivotal information or explanation of her quotation should not be simply omitted by
According to the whole article, the author used the ethos at most for these were his real experience. He established powerful credibility. He showed many examples and the events he had experienced which could make the audience know directly with the education situation during that time and believe the ghetto people and the students were really poor. The uses of logos, pathos and ethos were a big success for each of them could let the readers understand the bad situation with the students and ghetto area’s people. From all over to everywhere did he show the savage inequalities existed.
Quindlen uses logos effectively by using facts from other sources. It shows when she tells us that, “The agriculture Department estimated in 1999 that twelve million children were hungry or at risk of going hungry.” This is only a small example of the facts she uses. Another example is when she tells us that, “A group of big-city mayors released a study showing that in 200, requests for food assistance from families increased almost 20 percent, more than at any time in the last decade.” These examples show how she is using logos to persuade readers.
She chooses her words wisely, as any good writer should. The overall tone of her piece is slightly negative, especially when describing the administration. She uses accusatory terms throughout, most especially in her second paragraph, describing how the letter portrayed safe spaces and trigger warnings as “narrow-minded, oversensitive, and opposed to dialogue” (Downes 1). Her paper is fraught with negative words, especially when referring to those who do not understand or might oppose trigger warnings or safe spaces because they believe they are “coddling” the younger generations. On the other hand, she uses more gentle, positive language when defining what trigger warnings and safe spaces are and how helpful they can be for many people—or at least less negative in comparison to her language in other paragraphs.
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.]
The author uses pathos and logos several times in this writing. Pathos is in use when the author says, “Attempts to add sexual orientation to the federal statute began shortly after the brutal murder of young Matthew Sheppard in Wyoming, apparently because of his homosexuality.” He uses logos when he says, “ the yearly number of hate-crimes charges brought by the Justice Department dropped from seventy-six in 1996 to twenty-two ten years later.
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
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
The most predominant attribute of a graffiti artist is their mindset, for a graffitist is constantly surveying the streets in search for a new spot to “bomb” as well as examining the work of fellow writers. For instance, when a graffiti artist looks at an empty wall or a distant water tower they envision a canvas suitable for displaying their graffiti. A graffiti artist uses specific terminology when speaking to fellow writers as well as average people interested in this illegal art form. The use of terms, such as “tag,” “throw-up,” and “burner” are used to describe different styles of graffiti letters. In addition, the term “bomb” is used when a graffitist paints on numerous surfaces in a given area. When analyzing the desires of a graffitist, they explain the desire to go “all-city.” The term “all-city” describes a writers’ aspiration to display his graffiti throughout the entire city. The lifestyle of a graffiti artist tends to be more active than that of an average person, for graffitist go “bombing” during late hours of the night. The reason for these late-night paint excursions is to avoid cont...
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.
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.
In this article Divecha and Stern used logos effectively in the Washington post article. In the article they stated that “A 2013 survey of 380 college counseling departments across the country shows that anxiety is the most common presenting problems in their offices, followed by depression and relationship problems”. The reason why it is so successful is because not only did they do surveys, but these things were actually happening to the college students and they couldn’t face these problems alone. It started to become an issue as stated in paragraph six “Many have suffered in silence due to the stigma of loneliness”, In addition to that this causes more health problems for the students.
The excerpt that was built heavily on logos further justifies Moosa’s stance because it provides a different perspective of the situation. In addition to that, the fact that he addresses his own fallibility as a human being builds up the ethos for his article. It shows the readers that he is not simply pointing fingers, but rather he is bringing to light an issue that even he falls guilty
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...
Conservative people would call Banksy’s graffiti as being vandalism instead of recognizing the fact he brings social issues to the eyes of the people through artwork. “Son of a Syrian Migrant Worker” and “Migrant Birds” both display how ridiculous we, humans, truly appear when trying to argue over immigration worldwide. Graffiti benefits urban societies of the 2010 era because, the art form is not only used to express ones’ emotions but, express their political objectification, in this case, Banksy addressed the issue of immigration. Banksy’s graffiti functions as a social critique because he uses humor to explain the societal issue of immigration; “Migrant Birds” is more persuasive than “Son of Syrians Migrant worker” because Banksy shows