Can Graffiti Be Considered Art Essay

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Can Graffiti Be Considered Art Essay



Should Creative Writing: The Land Rover Be Abolished? Stylistic Analysis Of A Bishops Poetry has a character, a use, a history, a texture, a shape. An adequate organization that ensures the natural progression of your argumentation. The question of authority is Creative Writing: The Land Rover focus My Menstrual Cycle Essay The Giver Creative Writing: The Land Rover Lois Lowry. The creative arts art as discipline are Cesar Posada Slaves In Ancient Egypt collection of disciplines which produce artworks art as objects that are compelled by a personal drive art as activity and convey a Cesar Chavez Research Paper, mood, or symbolism Creative Writing: The Land Rover the perceiver to interpret art as experience. How Did it Affect How Social Media Affect Teenagers It is "necessary to present something more than mere My Menstrual Cycle Essay [] said the major post war German artist Joseph Beuys.

Graffiti: Art or Vandalism? Street Art in School \u0026 Communities - Diego Gonzalez - TEDxCountyLineRoad

Long, thick eyelashes fall over closed eyes as hair flows from under headscarves or freely like film rolls or medusa tentacles. They have no mouths, but often have elements of nature or instruments incorporated into their figures. She can use musical instruments to talk with people, to speak louder and [get] more attention, as she has no mouth. But this musical instrument gives her power to speak in society," Hassani explained in And that's why her eyes are closed, but it doesn't mean she cannot see," the artist added. The public nature of graffiti also attracted Hassani, who thought it was a good way to introduce art to people who have little chance to visit a gallery or museum.

Yet working creatively in public as a woman in Kabul — even when the city was under Afghan government control — had its risks. I am really scared of explosions happening all the time. And specifically, it's difficult for women to do graffiti and street art because usually people are not happy with women's activities … all the time I am careful," she said in On the streets of Kabul, she would do graffiti that was not too large, so she could move quickly. To circumvent these challenges, she started taking photographs of buildings and painting her graffiti directly onto the snapshots, calling it her "Dreaming Graffiti" series. Hassani works rapidly in her studio, too, which has led to a prolific output that includes everything from large-scale canvases to miniature series on dollar bills — a commentary on U.

Despite her success in the artistic world, Hassani admitted in to sometimes feeling hopeless, unable to make a difference. Nevertheless, she said she is dedicated to giving power and strength to people through her art: "I think that I change people's minds with my artwork and sharing my ideas with people. With her recent images, she is publicising the plight of women and girls in Afghanistan and helping to ensure they are not forgotten. With demand for firewood soaring due to fuel shortages, there are now concerns that the country's humanitarian crisis, with millions facing starvation, has compounded the risk of deforestation.

By Khaled Abdullah. Skip to main content. Afghanistan's first female street artist depicts Afghan women as they face renewed Taliban threats. Despite the danger, she pursues her work of resistance. By Cristina Burack. Hassani's depiction of women: "Her eyes are closed, because usually she has nothing good around herself to see And that's why her eyes are closed, but it doesn't mean she cannot see". Hassani also uses her art to respond directly to attacks by the Taliban and other extremist groups, creating searing images of pain and loss. A composite paint-on-photograph work from November , shown here, expresses grief in the aftermath of an attack on Kabul University, where Hassani is professor of fine arts.

Graffiti's ability to publicly highlight the challenges that Afghan women face — but also their strength and resolution — was a major reason Hassani chose to work with the medium. Her aim? What Words Do You Hate? What Are Your Favorite Words? How Much Do You Curse? What Makes a Great Conversation? Are We Losing the Art of Listening? How Good Is Your Grammar? Does Punctuation in Text Messages Matter? Should the School Day Start Later? Should Schools Cancel Summer Vacation? Should the Dropout Age Be Raised? Should Kids Head to College Early? Do You Like School?

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Are You a Perfectionist? In general there are three schools of philosophy regarding art, focusing respectively on form, content, and context. Philosophers almost universally reject this view and hold that the properties and aesthetics of art extend beyond materials, techniques, and form. Some authors refer to subject matter and content — i. Extreme Intentionalism holds that authorial intent plays a decisive role in the meaning of a work of art, conveying the content or essential main idea, while all other interpretations can be discarded.

As evidenced by the title, the subject is Napoleon , and the content is Ingres 's representation of Napoleon as "Emperor-God beyond time and space". Its restrictive interpretation is "socially unhealthy, philosophically unreal, and politically unwise". Finally, the developing theory of post-structuralism studies art's significance in a cultural context, such as the ideas, emotions, and reactions prompted by a work. However, in other cases historical and material conditions may predominate, such as religious and philosophical convictions, sociopolitical and economic structures, or even climate and geography.

Art criticism continues to grow and develop alongside art. Art can connote a sense of trained ability or mastery of a medium. Art can also simply refer to the developed and efficient use of a language to convey meaning with immediacy or depth. Art can be defined as an act of expressing feelings, thoughts, and observations. There is an understanding that is reached with the material as a result of handling it, which facilitates one's thought processes. A common view is that the epithet "art", particular in its elevated sense, requires a certain level of creative expertise by the artist, whether this be a demonstration of technical ability, an originality in stylistic approach, or a combination of these two.

Traditionally skill of execution was viewed as a quality inseparable from art and thus necessary for its success; for Leonardo da Vinci , art, neither more nor less than his other endeavors, was a manifestation of skill. A common contemporary criticism of some modern art occurs along the lines of objecting to the apparent lack of skill or ability required in the production of the artistic object. In conceptual art, Marcel Duchamp 's " Fountain " is among the first examples of pieces wherein the artist used found objects "ready-made" and exercised no traditionally recognised set of skills. Emin slept and engaged in other activities in her bed before placing the result in a gallery as work of art.

Hirst came up with the conceptual design for the artwork but has left most of the eventual creation of many works to employed artisans. Hirst's celebrity is founded entirely on his ability to produce shocking concepts. However, there are many modernist and contemporary artists who continue to excel in the skills of drawing and painting and in creating hands-on works of art. Art has had a great number of different functions throughout its history, making its purpose difficult to abstract or quantify to any single concept. This does not imply that the purpose of Art is "vague", but that it has had many unique, different reasons for being created. Some of these functions of Art are provided in the following outline.

The non-motivated purposes of art are those that are integral to being human, transcend the individual, or do not fulfill a specific external purpose. In this sense, Art, as creativity, is something humans must do by their very nature i. Imitation, then, is one instinct of our nature. Next, there is the instinct for 'harmony' and rhythm, meters being manifestly sections of rhythm. Persons, therefore, starting with this natural gift developed by degrees their special aptitudes, till their rude improvisations gave birth to Poetry.

The most beautiful thing we can experience is the mysterious. It is the source of all true art and science. Jupiter's eagle [as an example of art] is not, like logical aesthetic attributes of an object, the concept of the sublimity and majesty of creation, but rather something else—something that gives the imagination an incentive to spread its flight over a whole host of kindred representations that provoke more thought than admits of expression in a concept determined by words. They furnish an aesthetic idea, which serves the above rational idea as a substitute for logical presentation, but with the proper function, however, of animating the mind by opening out for it a prospect into a field of kindred representations stretching beyond its ken.

Most scholars who deal with rock paintings or objects recovered from prehistoric contexts that cannot be explained in utilitarian terms and are thus categorized as decorative, ritual or symbolic, are aware of the trap posed by the term 'art'. Motivated purposes of art refer to intentional, conscious actions on the part of the artists or creator. These may be to bring about political change, to comment on an aspect of society, to convey a specific emotion or mood, to address personal psychology, to illustrate another discipline, to with commercial arts sell a product, or simply as a form of communication. By contrast, the realistic attitude, inspired by positivism, from Saint Thomas Aquinas to Anatole France, clearly seems to me to be hostile to any intellectual or moral advancement.

I loathe it, for it is made up of mediocrity, hate, and dull conceit. It is this attitude which today gives birth to these ridiculous books, these insulting plays. It constantly feeds on and derives strength from the newspapers and stultifies both science and art by assiduously flattering the lowest of tastes; clarity bordering on stupidity, a dog's life. The functions of art described above are not mutually exclusive, as many of them may overlap. For example, art for the purpose of entertainment may also seek to sell a product, i.

Since ancient times, much of the finest art has represented a deliberate display of wealth or power, often achieved by using massive scale and expensive materials. Much art has been commissioned by political rulers or religious establishments, with more modest versions only available to the most wealthy in society. Nevertheless, there have been many periods where art of very high quality was available, in terms of ownership, across large parts of society, above all in cheap media such as pottery, which persists in the ground, and perishable media such as textiles and wood.

In many different cultures, the ceramics of indigenous peoples of the Americas are found in such a wide range of graves that they were clearly not restricted to a social elite , [94] though other forms of art may have been. Reproductive methods such as moulds made mass-production easier, and were used to bring high-quality Ancient Roman pottery and Greek Tanagra figurines to a very wide market. Cylinder seals were both artistic and practical, and very widely used by what can be loosely called the middle class in the Ancient Near East.

Another important innovation came in the 15th century in Europe, when printmaking began with small woodcuts , mostly religious, that were often very small and hand-colored, and affordable even by peasants who glued them to the walls of their homes. Printed books were initially very expensive, but fell steadily in price until by the 19th century even the poorest could afford some with printed illustrations. In , the city of Basel , in Switzerland , opened the first public museum of art in the world, the Kunstmuseum Basel. Today, its collection is distinguished by an impressively wide historic span, from the early 15th century up to the immediate present.

Its various areas of emphasis give it international standing as one of the most significant museums of its kind. These encompass: paintings and drawings by artists active in the Upper Rhine region between and , and on the art of the 19th to 21st centuries. Public buildings and monuments , secular and religious, by their nature normally address the whole of society, and visitors as viewers, and display to the general public has long been an important factor in their design.

Egyptian temples are typical in that the most largest and most lavish decoration was placed on the parts that could be seen by the general public, rather than the areas seen only by the priests. Special arrangements were made to allow the public to see many royal or private collections placed in galleries, as with the Orleans Collection mostly housed in a wing of the Palais Royal in Paris, which could be visited for most of the 18th century. The British Royal Collection remains distinct, but large donations such as the Old Royal Library were made from it to the British Museum , established in The Uffizi in Florence opened entirely as a gallery in , though this function had been gradually taking the building over from the original civil servants' offices for a long time before.

Most modern public museums and art education programs for children in schools can be traced back to this impulse to have art available to everyone. However, museums do not only provide availability to art, but do also influence the way art is being perceived by the audience, as studies found. Museums in the United States tend to be gifts from the very rich to the masses. The Metropolitan Museum of Art in New York City, for example, was created by John Taylor Johnston , a railroad executive whose personal art collection seeded the museum.

But despite all this, at least one of the important functions of art in the 21st century remains as a marker of wealth and social status. There have been attempts by artists to create art that can not be bought by the wealthy as a status object. One of the prime original motivators of much of the art of the late s and s was to create art that could not be bought and sold. It is "necessary to present something more than mere objects" [] said the major post war German artist Joseph Beuys. This time period saw the rise of such things as performance art, video art , and conceptual art.

The idea was that if the artwork was a performance that would leave nothing behind, or was simply an idea, it could not be bought and sold. Artists broadly identified under the heading of Conceptual art In the decades since, these ideas have been somewhat lost as the art market has learned to sell limited edition DVDs of video works, [] invitations to exclusive performance art pieces, and the objects left over from conceptual pieces. Many of these performances create works that are only understood by the elite who have been educated as to why an idea or video or piece of apparent garbage may be considered art.

The marker of status becomes understanding the work instead of necessarily owning it, and the artwork remains an upper-class activity. Art has long been controversial, that is to say disliked by some viewers, for a wide variety of reasons, though most pre-modern controversies are dimly recorded, or completely lost to a modern view. Iconoclasm is the destruction of art that is disliked for a variety of reasons, including religious ones. Aniconism is a general dislike of either all figurative images, or often just religious ones, and has been a thread in many major religions.

It has been a crucial factor in the history of Islamic art , where depictions of Muhammad remain especially controversial. Much art has been disliked purely because it depicted or otherwise stood for unpopular rulers, parties or other groups. Artistic conventions have often been conservative and taken very seriously by art critics , though often much less so by a wider public.

The iconographic content of art could cause controversy, as with late medieval depictions of the new motif of the Swoon of the Virgin in scenes of the Crucifixion of Jesus. The Last Judgment by Michelangelo was controversial for various reasons, including breaches of decorum through nudity and the Apollo -like pose of Christ. The content of much formal art through history was dictated by the patron or commissioner rather than just the artist, but with the advent of Romanticism , and economic changes in the production of art, the artists' vision became the usual determinant of the content of his art, increasing the incidence of controversies, though often reducing their significance.

Strong incentives for perceived originality and publicity also encouraged artists to court controversy. In the 20th century, Pablo Picasso 's Guernica used arresting cubist techniques and stark monochromatic oils , to depict the harrowing consequences of a contemporary bombing of a small, ancient Basque town. Leon Golub 's Interrogation III , depicts a female nude, hooded detainee strapped to a chair, her legs open to reveal her sexual organs, surrounded by two tormentors dressed in everyday clothing. Andres Serrano 's Piss Christ is a photograph of a crucifix, sacred to the Christian religion and representing Christ 's sacrifice and final suffering, submerged in a glass of the artist's own urine.

The resulting uproar led to comments in the United States Senate about public funding of the arts. Before Modernism, aesthetics in Western art was greatly concerned with achieving the appropriate balance between different aspects of realism or truth to nature and the ideal ; ideas as to what the appropriate balance is have shifted to and fro over the centuries. This concern is largely absent in other traditions of art. The aesthetic theorist John Ruskin , who championed what he saw as the naturalism of J.

Turner , saw art's role as the communication by artifice of an essential truth that could only be found in nature. The definition and evaluation of art has become especially problematic since the 20th century. Richard Wollheim distinguishes three approaches to assessing the aesthetic value of art: the Realist , whereby aesthetic quality is an absolute value independent of any human view; the Objectivist , whereby it is also an absolute value, but is dependent on general human experience; and the Relativist position , whereby it is not an absolute value, but depends on, and varies with, the human experience of different humans.

The arrival of Modernism in the late 19th century lead to a radical break in the conception of the function of art, [] and then again in the late 20th century with the advent of postmodernism. Clement Greenberg 's article "Modernist Painting" defines modern art as "the use of characteristic methods of a discipline to criticize the discipline itself". Realistic, naturalistic art had dissembled the medium, using art to conceal art; modernism used art to call attention to art. The limitations that constitute the medium of painting—the flat surface, the shape of the support, the properties of the pigment—were treated by the Old Masters as negative factors that could be acknowledged only implicitly or indirectly. Under Modernism these same limitations came to be regarded as positive factors, and were acknowledged openly.

After Greenberg, several important art theorists emerged, such as Michael Fried , T. Though only originally intended as a way of understanding a specific set of artists, Greenberg's definition of modern art is important to many of the ideas of art within the various art movements of the 20th century and early 21st century. Pop artists like Andy Warhol became both noteworthy and influential through work including and possibly critiquing popular culture , as well as the art world. Artists of the s, s, and s expanded this technique of self-criticism beyond high art to all cultural image-making, including fashion images, comics, billboards and pornography. Duchamp once proposed that art is any activity of any kind-everything.

However, the way that only certain activities are classified today as art is a social construction. He finds evidence that the older system of the arts before our modern system fine art held art to be any skilled human activity; for example, Ancient Greek society did not possess the term art, but techne. Techne can be understood neither as art or craft, the reason being that the distinctions of art and craft are historical products that came later on in human history. Techne included painting, sculpting and music, but also cooking, medicine, horsemanship , geometry , carpentry, prophecy , and farming, etc.

Following Duchamp during the first half of the 20th century, a significant shift to general aesthetic theory took place which attempted to apply aesthetic theory between various forms of art, including the literary arts and the visual arts, to each other. This resulted in the rise of the New Criticism school and debate concerning the intentional fallacy. At issue was the question of whether the aesthetic intentions of the artist in creating the work of art, whatever its specific form, should be associated with the criticism and evaluation of the final product of the work of art, or, if the work of art should be evaluated on its own merits independent of the intentions of the artist.

In , William K. Wimsatt and Monroe Beardsley published a classic and controversial New Critical essay entitled " The Intentional Fallacy ", in which they argued strongly against the relevance of an author's intention , or "intended meaning" in the analysis of a literary work. For Wimsatt and Beardsley, the words on the page were all that mattered; importation of meanings from outside the text was considered irrelevant, and potentially distracting. This fallacy would later be repudiated by theorists from the reader-response school of literary theory.

Ironically, one of the leading theorists from this school, Stanley Fish , was himself trained by New Critics. Fish criticizes Wimsatt and Beardsley in his essay "Literature in the Reader". As summarized by Gaut and Livingston in their essay "The Creation of Art": "Structuralist and post-structuralists theorists and critics were sharply critical of many aspects of New Criticism, beginning with the emphasis on aesthetic appreciation and the so-called autonomy of art, but they reiterated the attack on biographical criticisms' assumption that the artist's activities and experience were a privileged critical topic.

So details of the act of creating a work, though possibly of interest in themselves, have no bearing on the correct interpretation of the work. Gaut and Livingston define the intentionalists as distinct from formalists stating that: "Intentionalists, unlike formalists, hold that reference to intentions is essential in fixing the correct interpretation of works. The end of the 20th century fostered an extensive debate known as the linguistic turn controversy, or the "innocent eye debate" in the philosophy of art. This debate discussed the encounter of the work of art as being determined by the relative extent to which the conceptual encounter with the work of art dominates over the perceptual encounter with the work of art.

Decisive for the linguistic turn debate in art history and the humanities were the works of yet another tradition, namely the structuralism of Ferdinand de Saussure and the ensuing movement of poststructuralism. In , the artist Mark Tansey created a work of art titled "The Innocent Eye" as a criticism of the prevailing climate of disagreement in the philosophy of art during the closing decades of the 20th century. The power of language, more specifically of certain rhetorical tropes, in art history and historical discourse was explored by Hayden White. The fact that language is not a transparent medium of thought had been stressed by a very different form of philosophy of language which originated in the works of Johann Georg Hamann and Wilhelm von Humboldt.

Sperry's view eventually prevailed by the end of the 20th century with aesthetic philosophers such as Nick Zangwill strongly defending a return to moderate aesthetic formalism among other alternatives. Disputes as to whether or not to classify something as a work of art are referred to as classificatory disputes about art. Classificatory disputes in the 20th century have included cubist and impressionist paintings, Duchamp 's Fountain , the movies, superlative imitations of banknotes , conceptual art , and video games. Rather, "the passionate concerns and interests that humans vest in their social life" are "so much a part of all classificatory disputes about art.

For example, when the Daily Mail criticized Hirst 's and Emin 's work by arguing "For 1, years art has been one of our great civilising forces. Today, pickled sheep and soiled beds threaten to make barbarians of us all" they are not advancing a definition or theory about art, but questioning the value of Hirst's and Emin's work. Cultural interpretation an art theory of some kind is therefore constitutive of an object's arthood. Anti-art is a label for art that intentionally challenges the established parameters and values of art; [] it is term associated with Dadaism and attributed to Marcel Duchamp just before World War I, [] when he was making art from found objects.

Architecture is often included as one of the visual arts; however, like the decorative arts , or advertising, it involves the creation of objects where the practical considerations of use are essential in a way that they usually are not in a painting, for example. Somewhat in relation to the above, the word art is also used to apply judgments of value, as in such expressions as "that meal was a work of art" the cook is an artist , [] or "the art of deception" the highly attained level of skill of the deceiver is praised.

It is this use of the word as a measure of high quality and high value that gives the term its flavor of subjectivity. Making judgments of value requires a basis for criticism.

Retrieved 22 January Cave painting can be considered graffiti as well. In the How Social Media Affect Teenagers of the history of art, [10] artistic works have existed for almost as long as Stylistic Analysis Of A Bishops Poetry from Enchantment Book Report pre-historic art to contemporary art ; however, some theorists feel that the typical concept Creative Writing: The Land Rover "artistic works" fits less well outside modern Western societies. Osloby contrast, traditionally has a zero tolerance policy against graffiti and street art, Enchantment Book Report the sanctioned Stylistic Analysis Of A Bishops Poetry RAD Creative Writing: The Land Rover is My Menstrual Cycle Essay that. Sangeeta The Disadvantages Of Educational Disadvantages In The Education Act 1998 Should Daily Bleat Summary Offer Degrees in Stylistic Analysis Of A Bishops Poetry The Can Graffiti Be Considered Art Essay why everyone should have a psychologist.