Graffiti is one of the most controversial types of art in our time. Even if an artist makes beautiful murals, there are a lot of people who don’t support this creative expression. In the next graffiti essay sample, everyone can find new interpretations from famous art critics, such as Lisa Hochtritt, Ricardo Campos, and Andrea Baldini.
Reading essay samples is a beneficial process that expands students’ knowledge on any discipline. When you get an assignment from your teacher to write an essay on graffiti, you can compare your sources with those the author used. This subject is very inspiring for students who want to develop their knowledge of modern art trends and critically analyze everything about art.
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Graffiti: Art or Vandalism?
Critics and admirers have wondered where graffiti stands on the spectrum of art versus vandalism, but opinions are still divided as we enter the new decade. A fresh approach to this matter would be to study it from a sociological perspective, and thus reveal its artistic qualities. What is art, after all, if not a means of expression for the collective emotional experience of a society?
To better understand the mechanism of social analysis, one has to be aware of the visual nature of the urban landscape. As Ricardo Campos recalls in his work, our world is dominated by “the increasing relevance of cultural industries and mass consumption, the creation of dream-like worlds linked to the consumption of goods” (20). The violent color scheme and the message these works convey are meant to draw the viewer’s attention towards aspects of modern society. The vibrant image is a mirror for the constant wave of information.
Expressing themes and ideas through graffiti also contributes to re-evaluating the position art holds in our society. Andrea Baldini argues that “by introducing aesthetically interesting artifacts into everyday life, street art challenges the museal separation of art and life” (189). It is only a stretch of the imagination to picture future art as not belonging to a museum but instead to the public space.
At last, one might also consider interpreting graffiti to be an exercise in critical literacy. Experts have taken to using unconventional forms of teaching. Lisa Hochtritt claims that asking students to be more aware of the visual information they encounter forces them into “an exercise of critical decipherment, deconstruction, and then personal reconstruction” (111). If graffiti can both symbolize cultural relevance and offer a means of teaching critical thinking, its qualities are indisputable.
Art is relevant through the message it conveys. If we look at street art from the perspective of the society that experiences it, its value will be made apparent.
Baldini, Andrea. “Street Art: A Reply to Riggle.” The Journal of Aesthetics and Art Criticism, vol. 74, no. 2, 2016, pp. 187–191. JSTOR, www.jstor.org/stable/44510496. Accessed 3 May 2020.
Campos, Ricardo. “Youth, Graffiti, and the Aestheticization of Transgression.” Social Analysis: The International Journal of Social and Cultural Practice, vol. 59, no. 3, 2015, pp. 17-40. JSTOR, www.jstor.org/stable/24718322. Accessed 3 May 2020.
Hochtritt, Lisa. “Chapter 6: Grounding Art Education in the Lives of Youth: Using Graffiti Art in the Classroom.” Counterpoints, vol. 326, 2008, pp. 101–117. JSTOR, www.jstor.org/stable/42980107. Accessed 3 May 2020.