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In an era of modernization governed by financial targets and money return, cultural heritage being an important humanity asset becomes the victim of oppressive and destroying actions meant to institute economic and social progress. Cultural destructiveness and ignorance are observed in Banksy’s graffiti” Cave Painting” that represents a worker jet blasting over prehistoric art from a city wall. The artist reveals that as progress along with mass and cyber media tend to gain territory and people’s sympathy, we must be responsible to safeguard the cultural heritage which is the basis of humanity. According to an article posted on The Stencil Revolution website, the “Cave Painting” appeared during the Cans Festival run by Banksy in May 2008(repainted …show more content…
However, culture loss or deculturation becomes a living threat caused by rapid modernization. Culture cannot fit itself in a money-oriented and fast-paced world where people have a tendency to become materialistic. Globalization as a promoter of integration of societies and new opportunities is, in fact, a culture killer which causes loss of identity. How can antique or medieval art protect itself or withstand the contemporary art when our society insists to take the plunge into …show more content…
Marcus Garvey said, "A people without the knowledge of their past history, origin, and culture is like a tree without roots." (Brainy Quote). Considering Garvey’s quote, Banksy’s graffiti reveals that we are just a homogenous group of people with no history or diversity. Being bound to comply with the international agreements, all 126 countries and its citizens need to understand that there is no progress where cultural heritage is being taken apart for the sake of
“…the culture industry has brought about the false elimination of the distance between art and life, and this also allows one to recognize the contradictoriness of the avant-gardiste undertaking: the result is that the Avant-garde, for all its talk of purging art of affirmation with forces of production consumption, became an accomplice in the total subsumption of Art under capitalism.”
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.]
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 this manner, western cultures command great power by being able to represent their own heritage as a higher ranking than the “primitive” art of Third World nations that is often exhibited: “It also means the power to define and rank people, to declare some as having a greater share than others in the community’s common heritage—in its very identity” (Duncan 102). These are the important findings of Duncan’s (1991) analysis of cultural imperialism, which I agree with in terms of the greater influence of American and European museums to ritualize their status as a first world modern nation. More so, American/European museums get greater funding to superimpose their culture over museums in third world countries, which defines the overt power of the museum as a “temple” for first world art. These are important aspects of Duncan’s view that the disproportionate presence of western art throughout the world is based on a primarily imperialistic notion of cultural superiority in the presentation of American and European heritage on a global scale. In my opinion, I feel that western museums deliberately impose their cultural values in terms of “modernity” as a means of ranking themselves above lesser nations. Certainly, the increasing popularity of “primitive”
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.
Graffiti has been around for a long time, far back to the prehistoric times, where cavemen would spend hours drawing on walls, reflecting their daily lives. However, these walls were not walls of their own homes; they drew on walls that might have been someone else’s home, yet no one sees their “works of art” as vandalism. Archaeologists have even used graffiti on the walls of many areas to better understand different ancient cultures. Graffiti is a type of art that is popularly used among many young and middle-aged males, although it is considered vandalism, it is still an important piece of popular culture because of it’s ability to act as an effective form of communication and expression of identity, which can be used to reveal problems in society.
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.
“Philosophers, writers, and artists expressed disillusionment with the rational-humanist tradition of the Enlightenment. They no longer shared the Enlightenment's confidence in either reason's capabilities or human goodness.” (Perry, pg. 457) It is interesting to follow art through history and see how the general mood of society changed with various aspects of history, and how events have a strong connection to the art of the corresponding time.
an article on a writer named Taki 183. Graffiti is just about anywhere you look, from subway stops to tall skyscrapers. A lot of artists use spray paint cans and chalk to make their graffiti on. ``Art in the Street`` unrolled at the Museum of Contemporary Art in Los Angeles, California in 2011. This exhibit shows the works of U.S and international artists including Shepard Fairey, Margaret Kilgallen, Banksy, and JR. Jean Michel Basquiat's works are shown in a special gallery dedicated to 1980`s artists. In the last few decades, Graffiti art has even made its way into some of the most famous art galleries. People use graffiti as a way to express themselves and show their perspective of the world (youthvoices.net). Everyone has their own opinions on what graffiti is to them. Some people like it and other people hate it because they think it is a crime or it ruins the urban environment they live in ( Liz Gogerly). For some people, Graffiti is a powerful way to preach a point or share their opinions in a hands on way ( Liz Gogerly). The Cyber Bench documents New York City by saying that political activists use it as way to express their ideas and street gangs use it as a way to label their territory (www.at149st.com).
Ronald, Kramer helps to understand if graffiti is considered as illegal or legal, this article will support my essay because Ronald stress the issues that every graffiti art should be recognized for their work and should be considered as art. I will be using this source to support my idea for my main paragraph Graffiti is also introduced several cultures so they provide a place for graffiti writers to learn and grow their talents.
Graffiti today is developing into one of the finest and one of the most successful voices of modern art. Graffiti has been alive since the time people used to paint in caves. Modern graffiti actually made an impact in the late 1960s. This art has been struggling for a very extensive time to be considered as such, even though government regarded it as a criminal act. The fact of the matter is that in the past it has been an interpretation of anger against the establishment. Most people haven’t acted on writing graffiti in obedience of the law, while others take it into action to show discontent by making more graffiti. This practice has become more of a symbol that can express better the feelings of the practitioner. As graffiti started taking
Having realized art as a structured cultural phenomenon, and having emptied its direct and apparent meaning, it is possible to identify all its possible significations. Interestingly enough, I find that art reveals many diametrically opposed significations: expression and oppression, bias and acceptance, individual and society, creativity and confinement, and freedom and convention, among others. Art signifies the de-politicization of our culture, for even the most political of pieces cease to cause a stir among the masses.
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
Graffiti’s effect on society shows the true reason it should be an art form. It’s visuals allow for the common person to be in wonder at the detail in which some of these pieces. It allows for a new definition to the previously scorned act of graffiti as it brightens up cities all around the world and improves the entire psyche of urban life.