“Art” as a Form of Resistance

A perfect example of the presence of artworks available for viewing is in graffiti. Graffiti is often a derogative term used to describe writing, drawing, or images placed on the surfaces of public buildings or areas. Although not considered fine art by many, as an expression of creativity and imagination, it falls under the category of artworks. What separates this form of artwork from those found in galleries is the atmosphere and environment that is attached to graffiti that cannot be replicated or found in art galleries. The raw nature of graffiti makes it appealing for viewers, however, the fact it is abundant in the urban environment justifies the idea that it can be viewed without the need for an art gallery.

Graffiti has been around for more than half a decade and practiced worldwide. However there is debate between whether it is a form of art or vandalism. Graffiti artists’ debate that many do not understand the reason most graffiti artist take the risk of incarceration, fines, injuries, and in some cases death to paint a wall. A graffiti artist can have the simple desire to become recognized, or to create a piece that speaks to their audience as a form of self expression. Because graffiti is associated with gangs and acts of destruction to some many cannot see the history and importance graffiti can have on a worldwide scale. Due to the fact that graffiti is usually produced illegally, meaning it is

“Street art is omnipresent in urban streets and is a rish source of inspiration for artistic creativity. . . It possesses the aesthetic voices of the ordinary and enables resistance for the marginalized. Banksy’s street art, in particular, can guide students to think about various social and political issues and to reflect upon the immediate, if not unjust, world in which they live, to transform that world, and to

If you walk through almost any city, the buildings, bridges, and any other available spaces are seemingly filled with colors, picture, and words that are not part of the original architecture. This graffiti, which is a mix of tags, stencils, pieces, and freestyle, seems to have almost taken over cities across the world. Some of this graffiti, such as tags, are eyesores, but some pieces, such as the High Line “Love Is the Answer” and “Kiss” murals in New York City, are sites that have become iconic pieces of artwork. Unfortunately, pieces like these are also starting to be covered to a seemingly astronomical rate, which is causing outrage among those who visited to them.

By definition, graffiti is illegal. It is also considered vandalism because public or private property is intentionally destroyed, but in Alex Boyd’s blog “In Defense of Graffiti”, he clearly conveys his argument about how graffiti shows qualities of value and shouldn’t be criticized on impulse. Even though many people have seen graffiti as something to be condoned, punishable, and terrorizing, it is actually just another form of expression, communication, art, and point of view.

According to Boyd, through Graffiti is essential to understand as a form of art that crosses the boundaries of location, method, and motivation. He acknowledges that graffiti might include “racist remarks, empty slogans and illegal signatures.”(Boyd 251) Boyd’s piece is also very informative because according to the author, there are two methods for creating this form of art: murals and tagging. The most popular one is tagging because it can be found almost everywhere from fence posts to trains, street walls to buses. The main goal of graffiti writers is to put their signature tags in places to be recognized by their

The intersection of social movements and Art is one that can be observed throughout the civil right movements of America in the 1960’s and early 1970’s. The sixties in America saw a substantial cultural and social change through activism against the Vietnam war, women’s right and against the segregation of the African - American communities. Art became a prominent method of activism to advocate the civil rights movement. It was a way to express self-identity as well as the struggle that people went through and by means of visual imagery a way to show political ideals and forms of resistance. To examine how a specific movement can have a profound effects on the visual art, this essay will focus on the black art movement of the 1960s and

     Public art conquers so much more than the simple task of making the street a little easier to look at. It involves those who created it, those who supplied the means to create it, and those whose lives it continues to impact. Wall paintings in particular take an important role in working for a greater good. Judith F. Baca, a Hispanic-American woman and artist- activist has contributed an unaccountable amount to the mural movement in Los Angeles. She has accomplished this by giving individuals the chance to create art and develop a sense of pride, she has taught younger generations a respect for their ethnic identity, and from the many walks of life that continue to view her

Activists make their messages and movements known through art in order to express messages, validate identities, and to make struggles known, calling themselves ARTivists to show that there is an often undervalued intersection between the two. But before the coining of the term, activists have been creating art to advance themselves and their communities. ARTivists within the Chicano community have especially been creating art in order to validate and record their own experiences. ARTivism is crucial in today’s society and culture as it intersects art and politics in order to emphasize injustices that are deeply rooted within these structures. By decolonizing and deconstructing exploitive structures, ARTivists liberate the oppressed while creating a more socially conscious future by allowing the oppressed to create their own voice and tell their own stories.

As stated by Taki, an influential graffiti artist when addressing the concern authorities held about his graffiti writing, “Why they go after the little guy? Why not campaign organizations that put stickers all over the subways at election time?” (Chronopoulos 2011, pg. 81). Though, graffiti is deemed as legitimate when it is used to generate profit, which is seen through the recent increased demand for graffiti with the purpose of beautification and gentrification. Evidently, the growing concern over graffiti in public spaces is driven by the conflict graffiti creates when obstructing advertisements, which generate increased consumption and profit. It also demonstrates the lack of tolerance the dominant class has for the promotion of dominance by the lower class. Moreover, constant “public proclamations” which urged people to see graffiti writing as a social safety issue, has certainly influenced the demand for anti-graffiti efforts and the attitudes upper and middle class whites had towards Blacks and Latinos (Chronopoulos 2011, pg. 87)

Throughout history there have been countless demonstrations of non-violent protests against injustice. Nonviolent protests are known for being extremely successful in bringing about positive change. Nonviolent resistance is when people achieve goals through symbolic protests, civil disobedience, economic noncooperation, and other forms of protests without the use of violence. A rather interesting form of nonviolent resistance is protest art. Protest art has been used since the early 1900s and can be described as creative works that are produced by activists and social movements as part of demonstrations or acts of civil disobedience. It has been extremely successful because it is not limited to one region or country, but is used to convey messages to everyone around the world. Kehinde Wiley is an artist who has truly made a noticeable statement with his bold, groundbreaking, and innovative work. Through his paintings, he advocates black empowerment and heroism throughout the African American community. He eliminates the negative connotations of African Americans and replaces them with uplifting images of black beauty.

“I am not a black artist, I am an artist.” Art is used to describe what people are feeling. However, you never know who that artist is and what color they are until you see them for who they are. Art is not just paint it is what people are feeling. Have you ever been judged for what color you were or how you look? Well this man was one of the first famous black artist.

Art is a catalyst of change. It can confront both social and political issues as well as providing people with a creative outlet in which they can express their innermost thoughts and feelings - but what effect can art have on our society as a whole? Artists today have the unique ability to connect with people in a creative, innovative way that they can understand and interpret themselves. With this ability, artists are able to express their own views as well as influencing the views of others. Art is an immense part of our world – so much so that we barely even consider its impact upon us – but just how significant is the work of artists in our modern day society?

The origin and history of graffiti is not what one might expect. Believed to have been created by a Philadelphia high school student named Cornbread in 1967, it was a bold effort to catch the attention of a girl (De Melker). In this same time period, graffiti sprung up in New York as well. It was “one among many forms of social protest” during

Art is something that can only be achieved with the manipulation of the imagination. This is successful when using objects, sounds, and words. Richard Wright and Amira Baraka brought the power of art into the limelight. Wright’s perception of art was for it to be used as a means of guidance, one that could uplift the Negro towards bigger and better goals. Baraka’s perspective of art was for it to be used as an active agent, one that could kill and then imprint society permanently. Baraka and Wright both wanted the Negro to see that there was a much brighter future ahead of them. Both wanted art to leave a stain, a stain that could not be easily erased, washed, or bleached. Both believed that Black Art had no need to be silent but instead daring.