Is Street Art a Legitimate Art Form?

Is Street Art a Legitimate Art Form? Street art originated in the late 1960s with the advent of graffiti and tagging in Philadelphia and New York City (Walsh, 1996: 3). It has been developing ever since as new styles, forms and techniques are created and utilised by street artists (Walsh, 1996: 12). But street art is not generally viewed as art worthy of the status of works in a gallery or a museum, although as Walsh says, it is not strictly denied the status of genuine art because it utilises various aesthetic elements (1996). However, street art is often seen as radical or unconventional because of its location on walls and doors, on train carriages and in tunnels (Cooper et al, 1984: 15). These public spaces provide blank canvases for street artists, yet using them means that street art is almost always illegal viewed as a form of vandalism (Cooper et al, 1984; Chaflant and Prigoff, 1987: 42). While more legal spaces for street art have opened in recent years, there still remains the question: is it really art? In this paper I would like to explore this idea by making reference both to the history of graffiti and street art, the (il)legalities surrounding it, the ideas expressed through it and the ways in which the aesthetics created by some street artists make their work undeniably art. Street art as vandalism Id like to explore some of the oppositions to street art, to understand why street artists are vilified and their work denied the status of art. Walsh argues that the only reason why this occurs is because of the location of street art (1996: 2-3). He strongly believes that street art cannot be disregarded as a criminal act simply because it is not presented in a conventional manner, that is, framed and placed in a museum or gallery (1996: 3). I agree with Walsh, and believe that while street art may be unsolicited, and sometimes termed vandalism, that this does not meant it is not art. Nonetheless, the illegality of street art has stood in the way of it becoming recognised as a legitimate art form. As Ferrell explains, there are an impressive array of control technologies and techniques aligned against [street art], including a sort of public surveillance of street artists by concerned citizens who have been led to believe that street art is criminal (2004: 35). Ferrell cites exampl es from the United States in which antigraffiti campaigners have proposed punishments for street artists, including: a bill requiring that kids convicted of writing graffiti be publicly paddled à ¢Ã¢â€š ¬Ã‚ ¦ public caning à ¢Ã¢â€š ¬Ã‚ ¦ suggestions of lopping of hands à ¢Ã¢â€š ¬Ã‚ ¦ and publicly spray-painting [street artists] genitals (2004: 36). Understanding these angry sentiments means understanding why street artists are vilified. This also means recognising the terms street art and graffiti as having two different connotations. Street art has in recent years been seen as something with intrinsic value, with artist Banksy earning large sums of money for his wall stencils, and street art in Melbourne, for example, being recognised as part of the citys heritage and culture. However the term graffiti is still linked to the notion of criminal behaviour, and anti-graffiti organisations such as Removal of Graffiti Everywhere (RAGE) are committed to making street art in all forms illegal. Both Walsh and Ferrell argue that graffitis negative associations are due to its links with tagging, a style of graffiti done very fast, within a few seconds with the aim that his or her tag be seen by as many people as possible (Walsh, 1996: 12). But Cooper et al argue that tagging is in a different category to other forms of graffiti because it does not have the same aesthetic qualities (1984: 15). It is, in their words scribble (1984: 15). 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 à ¢Ã¢â€š ¬Ã‚ ¦ a new identity (Walsh, 1996: 12). This idea I would like to explore further with reference to street arts illegality. Anonymity, resistance and historic significance Like taggers, acclaimed stencil artist Banksy does not reveal his identity to the public. This reinforces the idea that there is something even about his widely celebrated form of street art that is illicit. Similar is Melbourne street artist Deb, who goes only by nickname and is hard to track down to a name or place. In fact many street artists use either aliases or nicknames that ensure them privacy and no attention from lawmakers. The anonymity of street artists once again goes back to the beginnings of graffiti writing in the 1960s, when gang members and other individuals graffitied and tagged urban spaces as a means of self-expression. Walsh argues that the monikers adopted by graffiti artists at the time worked both to allow the individual to remain anonymous, but also to provide him or her with a means to express outrage and resistance through a persona (1996: 122). Ferrell agrees with Walshs idea that street art is a form of resistance, stating that such artists employ partic ular forms of graffiti as a means of resisting particular constellations of legal, political, and religious authority (2004: 34). 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, 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 artists 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 Walshs 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 cert ain audiences. In this way, street artists can be compared to groups such as the Fauves, 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 Camnitzers 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: to perturb society and achieve results similar to those of political actions. But distinct from political actions à ¢Ã¢â€š ¬Ã‚ ¦ art should shape culture on a deeper level and have a more long-lasting impact (1994: 38). 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) Following Spitz I would also argue that street art is important as an art form because it represents history through its acts of resistance (1991: 17). As Ferrell discusses, the fact that places like the Berlin Wall were decorated with images representing hope and freedom, and graffiti that denounced the separation of East and West Germany shows just how much street art can act as a symbol of the times (2004: 34). This makes me think of works such as Goyas Guernica a mural not unlike some of those on the Berlin Wall, that shows the horrors of war and suffering. If we are to think about street art as representative of such historic and often horrific moments, then it is hard to denounce it as vandalism. Aesthetics of street art While I have argued that the expressive, resistive qualities of street art are undeniable, analysing the aesthetic qualities also show that street art is a viable artform. The production of street art requires established techniques and styles, most particularly in the use of spraypaint. Spraypaint is used in various ways for different artistic effects. As Walsh explains, street art developed over the years from tagging to established graffiti practices such as wildstyle, an integral, flowing piece of art (1996: 61). In more recent years the advent of stencilling has introduced a new technique into street art which requires artists to learn different effective ways of expressing their ideas (Melbourne Street Art, 2010). The techniques learnt add to the aesthetic qualities of street art and therefore show how image is linked to insight, which Spitz argues is of central significance to considering something art (2004). This is because emotional and intellectual responses to art cause a transfer of meaning between the artists intentions and the image he or she produces (1991: 2). The completion of street art involves imagination, planning, and effort, and is therefore similar to the execution of a more traditional form of art like a painting. The street artists must first do a sketch, then plan out characters and select colours. Next, the artist selects the surface on which her or she will work and creates a preliminary outline. If it is a stencil, the artist will draw the outline onto thick film and cut it out. Colours and ornamentation can then be applied using spray paint. Walsh argues that the completed product can be analysed according to the elements of aesthetic style: line, colour, composition, balance, tine and harmony (1996: 81-86). The structures and characters in the work can be read as a narrative, and the artists intentions communicated to the viewer (Walsh, 1996: 86). I would also argue that street art also improves areas that would otherwise be considered ugly, like abandoned buildings or industrial areas. One only needs to look at all of the street art in Melbournes colourful lanes to see how a place that could otherwise be an eyesore is made beautiful through street art. The impermanence of street art It is interesting to consider Walshs 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: A piece which might be sixty feet long, twelve feet high, and take twenty to thirty cans of paint and at least eight hours to produce might be gone in a matter of minutes (1996: 108). In that sense, it is understandable why galleries such as Sydneys May Lane and Melbournes Graffiti Management Plan work to protect street art from being obliterated. May Lane provides removable outdoor panels on which street artists can work, and which are stored for later exhibition, while the Graffiti Management Plan works to protect laneway graffiti. Although they failed in April 2010 by accidentally painting over a Banksy work in Hosier Lane, the Graffiti Management Plan protected another Banksy work by placing it under perspex to remain forever as a street artwork. And as more and more tourists flock to Melbourne specifically to see street art, the lanes of Melbourne are taking on the form of outdoor galleries perhaps not that unlike traditional exhibition spaces, yet more public and therefore accessible. Conclusion 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 artists 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, 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.

Math Project

Name: Math Manisa No. : 10740 Project 2 Regression Line The following table shows (for the years 1965 to 2000 and for people 18 and over) the total percentage of cigarette smokers, the percentage of males who are smokers, and the percentage of females who are smokers. Percentage of Smokers _________________________________________________________________________________________________ Year Total Population All Males All Females _________________________________________________________________________________________________ 965 42. 4 51. 9 33. 9 1974 37. 1 43. 1 32. 1 1979 33. 5 37. 5 29. 9 1983 32. 35. 1 29. 5 1985 30. 1 32. 6 27. 9 1987 28. 8 31. 2 26. 5 1990 25. 5 28. 22. 8 1992 26. 5 28. 6 24. 6 1993 25. 0 27. 7 22. 5 1995 24. 7 27. 22. 6 2000 23. 3 25. 7 21. 0 Part one 1)Using Excel, draw a Scatter Plot and generate a regression line for the percentages of males who are smokers versus time. Part two 1) The Regression Line for the Percentage of Males who are smokers is (just copy the equation from your Excel spread sheet ) Y= -0. 7766X+1575 2).By the model in 1), the percentage of Males who are smokers in the year 2002 is: 20. 85=21% 2) Using Excel, draw a Scatter Plot and generate a regression line for the percentages of females who are smokers versus time. [pic] Part Two 3). The Regression Line for the Percentage of Females who are smokers is (just copy the equation from your Excel spread sheet ) Y= -0. 4134x+847. 64 4) By the model in 3), the percentage of Females who are smokers in 2002 is: 20. 01=20% ———————– [pic]

Once Upon a Time Essay

‘Once Upon a Time’, was written by Gabriel Okara, who is a Nigerian poet. He often explains what happens when a traditional African culture meets the forces of the Western way of life. I think the poem was written to outline the fake personalities of many people and to try and get them to return to a natural and innocent state. The poem tells of the conversation between what seems to be a father and son, where the father wants to learn from his son how to go back to normality and no longer be fake. The poem starts by the father telling his son how, ‘once upon a time’, people, or ‘they’, ‘used to laugh with their hearts’. I think that the word ‘they’ refers to western people who are white. Also this description gives the impression of genuine emotion given off by the people. He then moves on to say that now they only, ‘laugh with their teeth, while their ice-block cold eyes search behind his shadow’. This gives off very negative, fake and false feelings and it is a very cold description. This affects the tone of the poem that now becomes sinister and bitter. Stanza two then reveals more of the past when it is said that, ‘they used to shake hands with their hearts’, again this image reveals true and genuine emotion. But just as in the first Stanza the present reality is then discussed when it is said that, ‘that has gone, now they only shake hands without hearts while their left hands search his empty pockets’. This shows that, again the people are fake and seem to be using the man to see what they can get. Poem Stanza Four Presents the Adaptations and Solutions. Stanza three then goes to explain more about the changes he has noticed in these false people. Again the Stanza starts positive with the phrases, ‘feel at home’, ‘come again’, but then goes on to say that he will come again, ‘once, twice’ but there will ‘be no more thrice’ for then ‘I find doors shut on me’. This shows that the people lie when they say the positive phrases and after a few visits they have all that they want from the man; their falseness is reflected in the language they use. The first three Stanzas have the same structure. They start by telling the past and explaining how things used to be, but then they tell the negative reality. I think this is used to compare the times and introduce the reader to the situation. Stanza four presents the adaptations and solutions that the man has found to counter the problems. It starts by saying that the man has, ‘learned many things’, already suggesting that he has changed to fit in. He then explains the things he has learnt. He tells of the false personalities or of his ‘many faces’. He tells that he has learnt to ‘wear’ these faces, suggesting that he wears faces for different situations. For example, he says he has an, ‘office-face, street-face, and host-face, proving that he acts differently under different circumstances. He then adds that they have, ‘conforming smiles, like a fixed portrait’. This suggests even more falseness and changes. Poem Stanza Five: Learned to Laugh With Only His Teeth. Stanza five of the poem tells of the fake attributes to go along with the fake looks. It also repeats some of the acts that were mentioned earlier in the poem. Repetition seems to be a key technique in this poem. He says that he has also, ‘learned to laugh with only his teeth’ and ‘shakes hands without his heart’. This suggests that he has copied the western ways as this is what they did earlier in the poem. He then goes even further by saying he has learned to say, ‘Goodbye’ when he means, ‘Good-riddance’ and ‘Glad to meet you, without being glad’. I think that the man is ashamed of himself and is confessing to his son how far the fake attitudes have developed, he seems to hate what he has done. Stanza six and seven then show the man showing his regret as he says, â€Å"I want to be what I used to be when I was like you†, showing that he wants to be honest and truthful again.

The Value of Multiculturalism and Diversity in Business Essay

The Value of Diversity and Multiculturalism in Business Diversity and Multiculturalism are two topics that, themselves, are not new. To start off with a uniform basic understanding, what are diversity and multiculturalism? According to Merrium-Webster, Diversity is ‘the condition of having or being composed of differing elements, especially the inclusion of different types of people (as people of different races or cultures) in a group or organization’. Whereas, Merrium-Webster defined multiculturalism as ‘relating to, reflecting, or adapted to diverse cultures’. Simply put, Diversity is the differences themselves, while multiculturalism is the ability to connect with and respect those differences. When it comes to business, coming†¦show more content†¦Once these differences on a fundamental level are overlooked, the openness will set in along with its benefits. According to the Center for American Progress, ‘a diverse workforce is integral to a strong economy.’ Some of the benefits listed by the Center for American Progress are that ‘A diverse workforce drives economic growth†¦can capture a greater share of the consumer market†¦[creates] a more qualified workforce†¦[and] fosters a more creative and innovative workforce†¦Ã¢â‚¬â„¢ (Kerby and Burns, Jul 2012). However, found in the study by the Journal of Business Communication, the lack of acceptance and therefore lack of diversity in the workforce will halt all of these benefits (Fine, Oct 1996, pg487). Essentially, the business that are moving forward and taking over the market are the ones with diverse workforces. They can draw from various backgrounds as well as come together to aim their product or service at a wider field of consumers. These businesses embrace differences and therefore are able to reach out and break through to these newly found markets. Multiculturalism Each culture holds its own strengths and weaknesses. When these cultures come together, a massive range of talents can be brought together. ‘Multicultural discourses that incorporate the diverse voices of all workers will not only transform our public and private economic organizations, they will also reinvigorate our public discourses and political institutions, strengthening ourShow MoreRelatedMichelle Julia Anderson- 250848884. 2230E- Erin Orr. Tuesday,1329 Words   |  6 PagesOrr Tuesday, February 7th, 2017 Multiculturalism has played a significant role in Canada, since its establishment 40 years ago. Much of Canadian society is reflective of different cultures from around the world making multiculturalism a very relevant topic to Canadians. While it can be argued that the majority of Canadians are in favor of multiculturalism, there are some who hold a different opinion. Though some critics claim that multiculturalism promotes a form of ‘hyphenated Canadianism’Read MoreEssay on Views and Definitions of Multiculturalism924 Words   |  4 PagesINTRODUCTION: There are different views and definition of multiculturalism; the definition of multiculturalism depends on the context in which it is used. In sociology, multiculturalism is the idea that various cultures exist in a society and all these cultures deserve equal treatment (Macionis, 2010). Sociologists believe that members of different cultures can live peacefully alongside each other and assimilation is not necessary. This essay will focus on both the positive aspects and the main tensionsRead MoreEffects Of Multiculticulturalism925 Words   |  4 PagesINTRODUCTION: There are different views and definition of multiculturalism; the definition of multiculturalism depends on the context in which it is used. In sociology, multiculturalism is the idea that various cultures exist in a society and all these cultures deserve equal treatment (Macionis, 2010). Sociologists believe that members of different cultures can live peacefully alongside each other and assimilation is not necessary; but this does not happen in all multicultural societies. This essayRead MoreEssay on The Canadian Mosaic Vs. The U.S. Melting Pot1707 Words   |  7 Pagesrenown for being one of the most tolerant, welcoming, and democratic countries in the world - a dynamic mosaic of multiculturalism where people live and work together in harmony. Over the past 150 years, more than 14 million people have immigrated to Canada, with 16% of the 30 million citizens being first-generation immigrants. The Government of Canada is committed to a policy of diversity designed to preserve and e nhance the multicultural heritage of Canadians, while striving to achieve equality inRead MoreThe Canadian Mosaic vs. the U.S. Melting Pot1710 Words   |  7 Pagesrenown for being one of the most tolerant, welcoming, and democratic countries in the world - a dynamic mosaic of multiculturalism where people live and work together in harmony. Over the past 150 years, more than 14 million people have immigrated to Canada, with 16% of the 30 million citizens being first-generation immigrants. The Government of Canada is committed to a policy of diversity designed to preserve and enhance the multicultural heritage of Canadians, while striving to achieve equality inRead MoreDemographic Factors Research909 Words   |  4 Pagestheir products. Coca Cola was invented on May 1886 by John Stith Pemberton in Jacob’s pharmacy in Atlanta, GA (Coca Cola, 2009). The name for the company was suggested by his bookkeeper Frank Robinson. The Coca Cola is a globalized company and has business practices put in place that are built on simplicity and solidity. The Coca-Cola Company and its network of bottlers include the most sophisticated and all-encompassing production and distribution system in the world (Coca Cola, 2009). That systemRead MoreThe Diversity Of The Multicultural Company, And Australia And China923 Words   |  4 Pagesenvironment such as diversity, multiculturalism, ethnocentrism, stereotypes, cultural differences, barriers and cultural intelligence will be discussed. Furthermore, analyse the differences in national cultures and differences in political, social and economic systems in order to help managers succeed in a foreign country. Moreover, the essay has investigated how Australian managers concentrate on decision-making and intercultural communication as a result of operating business successfully. TheRead MoreAoteaora New Zealand s Society Essay1608 Words   |  7 PagesZealand’s society and has a massive impact in its history. Having a clear understanding of it is crucial in order to be more appreciative of how diverse New Zealand’s society has become, and it also helps us discern the negative aspects of diversity and multiculturalism. By examining and understanding biculturalism, it helps us discern the Treaty of Waitangi’s role and influences in the human services provision here in New Zealand. Biculturalism is quite a specific concept, but there are many diverseRead MoreOperations994 Words   |  4 Pagesthe following: †¢ Value System: A guide of values for which people of a given culture abides by at all times. †¢ Language: The vernacular spoken by the native people. †¢ Business Etiquette: Good manners shown toward employees partners when conducting business. †¢ Religious Practices: Religious beliefs like Christianity for example. Diversity on an international scale has become an important topic because of all the different people you are bound to encounter when doing business internationallyRead MoreManaging Cultural Diversity : An Organization2226 Words   |  9 Pages Managing cultural diversity workplaces are a challenge that has the potential to influence organization positively or negatively. People are an organization’s most important key of assets and knowing how to maximize their abilities is critical to success. Utilizing diversity and acknowledging, appreciating will help build the resources that business needs to be successful now and in the future. Australia has seen dramatic changes in the structure of its workplace. Now made up of women, immigrants