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Elder Illegal Art Graffiti has been around for centuries. It can be seen on buildings, cars, and anything that can be painted with a spray can. Since graffiti came to exist, there has been much debate on whether it is an art form or an illegal activity. While it has been banned and deemed illegal all over the world, it still persists in today’s society. Along with the controversy that comes with graffiti, many commonly known stereotypes are apparent within the act of graffiti. Stereotypically, graffiti is seen as an urban act done by younger people. Typically, since this act is considered illegal, it is mostly done in the middle of the night, and the people partaking are usually wearing dark or black clothes. The picture, “LATA 65 IS A CREATIVE …show more content…
While the article stays seemingly unbiased, it is no secret that the target audience for this article is youthful and urban people. That is mostly because the first thing a culture thinks of when graffiti is mentioned, are young people, most of the time, connecting back to Hine’s article, teenagers. The photograph, though, is showing an illegal act, it is softened by the presence of an elder woman. This makes the photograph stand out, whereas if it were a photograph of teenagers, it would be normal according to culture. While some authoritative figures say they are lightening up on the punishment because youthful people should be able to express themselves, why is it only limited to youthful people and not elders? In the photo, it is seen that both of the elderly women are wearing masks, and going back to the bright colors, and the setting being in broad daylight. With the context of the photo, knowing that it was an organization for the sole purpose of having these elders graffiti, somehow brings a lighter mood to the photo. Viewing the photo through this lens easily shows that based on the stereotypes that are already in place, the photo does not seem wrong, however, it is strange, and
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.
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.
Infused with the emergence of the hip hop culture, the graffiti revolution primarily took place in New York City in the 1970s to the 1980s. Graffiti art has historically been viewed as a form of vandalism, a curious enigma viewed by the governing class, and a general menace to society especially in large urban populations such as cities. Within the 1970s to the 1980s the urban youth began extensively spray-painting subway cars, trains, and walls, giving a voice to the disenfranchised, anti-authoritarian rebels who were seeking an identity to be seen and heard by the city that was now discrediting them. This type style of graffiti-inspired art is still present within the many art communities around the world, ever transforming and altering in
The author makes an appeal to ethos by using a strong academic of use words. This way he can appeal to most intellectuals. He tries to get academically advanced readers be the audience to his article. I think this is the group of people that are most against graffiti. So by having them as audience he can get the people who see graffiti as a low form of art to change their mind about it. To get them to have a better understanding of graffiti, where it came from and why it happens. But by making this article so academic, Jeff Ferrell alienates most readers. He blocks out a lot of potential readers, readers who are not on the same academic level as him will have trouble following his article. His point of graffiti not being a bad thing doesn´t
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.
The Graffiti community is, although they will not admit, a bunch of aesthetic filled souls. Everyone gathers recognition in this community. “Graffiti isn't something a normal person does, I have been through a lot of situations just cus I do what I do,” my subject explains. These artist ARE outcasts, for a good. They express culture and it is something they get a feel for. It is brilliant, even with the trouble.
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.
...ed a moral geography of artistic practice. This helps me as an evidence or fact to support some of my main ideas in my 3rd paragraph .
Graffiti Removal – The Best Way To Make Your Neighbourhood Look Better Summary: Graffiti vandalism has seen a sharp rise in recent years in Sydney. People are facing problems due to the defacement done to their property by graffiti vandalism. If you have been a victim of graffiti vandalism on your property then hire professional Graffiti Removal Sydney based company to get rid of the unwanted graffiti. Main Content: Graffiti not only looks bad, but is quite detrimental to the environment and health of the people living in the area where vandalism has been done. Graffiti might have a damaging effect on the safety, health and welfare of a local community by advertising and marketing a damaging message on that area, which might give a boost to other types of crime.
It is a ridiculous belief that just because graffiti is done somewhere without consent, it throws out the notion that it is still art. Sure, the piece of work was done illegally but why can’t the work still be appreciated and enjoyed. Art is art wherever it is found. The location of the piece does not change that. In fact, graffiti can kill two birds with one stone. First, at the foundation it is a form of art. Second, on top of that foundation a message can be erected and directed. But as the saying goes, beauty is in the eye of the beholder.
People were too afraid to ride on subway cars if they had graffiti all over them. Today, some people are even moving away if there is graffiti in their neighborhood. In the book, “Gang Injunctions and Abatement: Using Civil Remedies to Curb Gang-Related Crimes” the author writes, “The negative impact of graffiti on a community is significant, as graffiti vandalism instills feelings of fear and insecurity.” Graffiti impacts the identity of the community. It affects the way people see their
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.
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.