Graffiti similarly flourished during the Arab Spring following the Civil Revolution of , developing into an alternative — and less corrupt — media channel, paying homage to activists who died during the Revolution. In El Seed created graffiti which challenging the popular perceptions and misconceptions of the people in this particular neighbourhood, using the walls of the area as his canvas. Many members of the community viewed this work as a fruitful project, as messages of peace and togetherness in their struggle came to the fore.
Graffiti in public spaces is direct. It is an accessible space for cultural exchange and largely unfiltered. Artefacts Creatives Education Journals. Journals Articles Submit to a Journal. The Impact of Graffiti.
By Naima Sutton The creative expressions found on the streets are unparalleled as it does not limit artists to predetermined rules of space or presentability.
Art galleries, more often than not, are hierarchical. How often does law enforcement take this view? Perhaps not often enough. Two year-olds see a hurt city, and they see graffiti as the color and expression, if not necessarily to show that hurt, then to provide an alternative to it. They also see, in themselves and their friends, an untapped talent; a talent with no logical outlet in their world other than on freeway overpasses and walls. Colorful bandages applied to a hurt city. The positive examples show governments using honesty and compassion, involving disenfranchised youth in the direction of cities and neighborhoods instead of locking them behind bars ; they show neighborhoods not just coming alive with color, but disenfranchised youth coming alive to believe in themselves, to discover and use their unique skills and passions to make their corner of the world better, regardless of whether they go on to be professional artists, business leaders, local politicians, or homeless recyclable collectors.
The positive examples bring notions of community and economy closer together, instead of continuing a dangerous global trend of pushing the two farther apart. In doing so, they create viable opportunities for individuals to build and join a community-focused economy.
At Art is Power, Patrice focuses his energies full-time on working with and documenting visionary Arts initiatives from around the globe. Previously, he worked as a public school teacher in San Jose, California. However, this feeling was instantly disrupted by the sight of a van that was completely covered with spray painted scrawls.
The contrast of the van against the beautiful backdrop of antique Prague was similar to a pile of burning tires in the middle of a pristine rain forest. No one could ever convince me that this is a form of art. Is it boredom, anger, or a complete disregard for public and private property that compels a person to do this? Is it a response to certain stresses, a cry for help, an intrinsic human need to be acknowledged, or something else? It is ambiguous, confusing, and controversial because it encompasses everything from turf markings and vandalism to murals and advertising, which is why a historical account is necessary.
Whatever it was, the article inspired multitudes to join in the competition. From this starting point, participants set themselves apart by developing their monikers into increasingly sophisticated forms. This ushered in a new generation of artists like Lee Quinones , Seen , Dondi , Zephyr , and many others who painted high art on the sides of subway cars and buildings around the city.
On a recent Art is Power tour of Europe, I interviewed prominent graffiti and street artists to discuss this development. I had the honor of meeting with Mode2 , a first generation European graffiti pioneer who has stayed dedicated to graffiti art and Hip Hop culture for over 30 years.
No matter where a person may be from, personal and cultural validation and the need to be acknowledged are universal human desires, and graffiti provided the framework. As in New York, European youth from all backgrounds had a democratic outlet that provided a sense of purpose, community, and fun. Due to the unbridled cocaine trade of the s, violence, fear, and drug addiction ravaged many communities.
To make matters worse, since countless youths had been swept up by the drug cartels, there was a huge generational rift. According to prominent sociologist and activist, Dr. Charles Derber :.
Most social movements rely on art as a powerful vehicle for expressing dissent and resistance as well as helping articulate new visions of society. Arteaga enthusiastically explained that today, the older generation, who were once terrified by the youth, no longer fear them.
Such examples illustrate the role of the arts in creating opportunities in bleak circumstances. And I think they believe firmly that you should not have revolutionary popular art in which people participate. Any movement a city is willing to spend that kind of money to eradicate deserves careful examination.
In other cases, individuals feed their egos by selfishly tagging their names on any surface that catches their attention. Graffiti art disrupts urban space in multiple ways. It interrupts the seemingly planned nature of cities, in particular in the hyper-planned city spaces of the global north.
But the act of producing graffiti also interrupts normative ways of being and living in the city. To create graffiti is to do something illegal in some cities , out of the ordinary, and in the margins of the city.
Graffiti can be used to mark territory—as is the case with gangs in Los Angeles or Rio de Janeiro. However, in many cities across the globe, graffiti is produced predominantly by men. In this sense, graffiti—both the art and act—are generally perceived as masculine. Women in most cities are still far more vulnerable that men, especially in certain places and at night. Women graffiti artists experience street harassment by men, including sexual harassment by police officers. Indeed, the women that create graffiti face more challenging situations, making their graffiti more significant to urban spaces.
Moreover, the images and texts that many of these female artists create have an important social message. Putting themselves at risk to produce art much of it political is a claim to the right to the city: a demand to be safe and to be able to engage in producing urban space. Yet, there are many great female graffiti artists, and the number is growing.
Most of their work has comprised tagging words, such as mujeres libres, fuertes, bellas free, strong, beautiful women and female figures, along with their tag names. The style of graffiti we are familiar with today began in New York in the late s, being heavily influenced by hip-hop culture. Contemporary graffiti began with the underlying desire for artists to have their work seen by as many people as possible by tagging popular buildings and trains. This dream was made possible with the invention of the aerosol spray can, so that no subway car or freight train was safe from graffiti.
Is Graffiti Really Art? Is graffiti seen as vandalism or a notable art that is used to voice the opinion of many artists? Many are quick to conclude that graffiti is an act of defacing public property, but few are in understanding of what real graffiti is.
Graffiti is defined as art that is displayed or created in public spaces. So this presents the question of why some critics believe that graffiti should not be classified as a real subcategory of art. Below is the explanation as to why graffiti. Often teenagers and young adults that took to the streets at night armed with spray paint to 'leave their mark' on the city. This form of vandalism, dubbed graffiti from the Italian graffito meaning to scratch Abel.
Though graffiti dates to ancient times it is still a large-scale problem across the world. Graffiti has a negative effect on the community in which it appears. This form of vandalism is not done to uplift or beautify the community, like murals or art instillations, but. Art is sensibility and it embodies culture, literary, religion and other social element.
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