It is worth noting that an aged graffiti artist in Hong Kong living under an eccentric self-imposed pseudonym of ‘King of Kowloon’, had managed to garner significant recognition from not only within the city in which he had created numerous works, but also from the international community. The so-called ‘King of Kowloon‘, whose actual name was known as Tsang Tsou Choi, passed away in 2007, but he remains in the memories of many as a major cultural icon of Hong Kong, a highly unique and innovative figure that this small yet dynamic city has had to offer. His dedicated street works have been thoroughly appreciated as being highly distinctive in their inclusion of ornate calligraphy work, as well as highlighting features of Hong Kong‘s local history, allowing the people of Hong Kong to shape their own identities in midst of their recently confusing experiences of British colonial rule and handover to China, helping himself forge his own presence in this ever-changing and dynamic city. ‘King of Kowloon’, as this late graffiti artist was so often called, has left a deep impact on the small city of Hong Kong not as a mere street graffiti worker, but as an innovative icon whose works are distinguished by those of other artists in his extensive use of ornate calligraphy, as well as the sensational meanings and ideas embedded within every one of his creations.1 Despite lacking professional artistic training, Tsang Tsou Choi, a tireless artist, practiced Chinese calligraphy- a
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An example of an artist who’s work is only present in the urban environment is a Melbourne graffiti artist under the alias of Aeon. Examples of his artworks are “Black” (undated) and “Foes” (undated), both of which are considered “Pieces” produced with spray paint on a bricked surface. Such pieces are only available for viewing on the streets of Melbourne on back lanes and ally ways. The location of his works add to the effect and subjective nature of his works with the emphasis of art flourishing in all areas of the world and by
“In contrast to government-commissioned public art, street art is illicit and subversive in nature. Therefore, most street artists, including Banksy, use pseudonyms to avoid legal prosecution for vandalism.”(Chung 27) Banksy’s street art does not focus on competing with rival artists, but focuses on engaging with a broader audience in a deeper level. He provokes his audience by deeply expressing out various social practices that helps viewers to reflect and confront certain aspects together as a community. (27) The underlying message of Banksy’s art can lead towards an active involvement of street art within the community.
His satirical street art and subversive epigrams combine dark humor with graffiti done in a distinctive stenciling technique. Such artistic works of political and social commentary have been featured on streets, walls, and bridges of cities throughout the world.
I have discovered the Graffiti writer Royal Dog real name; Chris Chanyang Shim came from Korea, which I find he produces meaningful projects. While he was growing up, since 2nd grade he liked drawing. Around 4th grade he learn Hip-Hop through a copy of ‘Hip Hop’, a manga that introduced him to b-boys and graffiti. He had an admiration for the culture. He was attending an art school and focused on drawing and animation at school until one day, he just started doing graffiti. At the time, graffiti was on the cultural radar and he wanted to represent a part of Hip Hop culture. Years latter Shim decided to travel across the US to search for new free space and atmosphere to paint. At his first stop in Bronx, New York, he painted his three favorite rappers, Jay-Z, T.I., and Big Pun. People reacted to the mural with enthusiasm, and Shim was soon invited to California to display his artwork further.
The Metropolitan Museum of Art has one of the finest Asian art collections that has enlightened and strengthened my understanding in my personal art experience. The Museum itself is an artistic architectural structure that graces the entire block on 82nd Street in Manhattan. Entering inside, I sensed myself going back into an era, into a past where people traded ideas and learned from each other. It is a past, where I still find their works of yesteryears vividly within my grasp, to be remembered and shared as if their reflections of works were cast for the modern devoted learner.
Jean-Michel Basquiat emerged from the punk scene in New York as a street-smart graffiti artist. He successfully crossed over his downtown origins to the international art gallery circuit. Basquiat’s work is one of the few examples of how an early 1980’s American graffiti-based could become a fully recognized artist. Despite his work’s unstudied appearance, Basquiat very skillfully and purposefully brought together in his art a host of disparate traditions, practices and styles to create a unique kind of visual collage. His work is an example of how American artists of the 1980’s could reintroduce the human figure in their work after the wide success of minimalism and conceptualism.
Graffiti is a form of art that has been seen as illicit since the beginning of its origin. Thrown under the bus, street art is categorized with terms such as “vandalism” and “criminal”, along with the artists are more than often associated with those that are “delinquent” and “thuggish”. With no hands barred – street art links us to see the unsurfaced truths of society. It is a type of art that holds no restrictions or boundaries since they are merely images and text imposed on any surface imaginable. From buildings, to sides of highways, buses, trains, and desolate wall spaces, graffiti is seen everywhere. Rather than just being a public distraction or nuisance to those that do not understand, graffiti has the constructive power to convey
Martin Wong is an Asian-American modern artist that is known for his innovative painting through expressive paintings that explore the subject of sexuality, ethnic, and racial identities. He became famous in his contributions in the urban art expressionism. There is a sense of poetic depictions in his images that paved way for the widening of the development of twentieth century modern art. He is considered to be one of the pioneering artists that explore expressionism representing the urban life with controversial motifs and concepts such as gay homosexuality and queer perspectives. Martin Wong was one of the strong drivers for graffiti art. He incorporated graffiti with urban neo-expressionist art in the 1980’s, despite the intensive resistance
In reference to Lu Chao’s cultural background and experiences, the two artworks Column and where! are both influenced by the idea of crowds, disappearance, and the emptiness of such. This is a strong connection to Lu Chao’s cultural context of growing up in China, where an abundance of population and crowds of people influenced his ideas of vanishing into a crowd and the blurring of meanings and faces. This is similar to
Finish reading over 50 Apexart exhibition proposals, in my opinion, the most compelling one is the project about the past and future of the Vancouver’s Chinatown. The program is inspired by the underground bunker which was built by Chinese, who used those bunkers, like a safe heaven, to hid and took refugee from mobs and harassments of non-Chinese Vancouverities encouraged by the government’s discriminatory actions aimed at burning down Chinatown. It is very similar compared to current situation that today’s real estate developers impersonate these mobs, infiltrating with commerce instead of violence, which raises the rent and push out the remaining generations of Chinatown community. However, the bunker is still there, unchanged and untouched, also a potential space. One of the programs is that Artists will be invited to create works, boxes containing art pieces, which descent below the suface in the space of Chinatown, including an unnamed park, where
Street art in Cambodia today is mostly propagated by visiting artists or returning Cambodian youth who, during the reign of pol pot, were fortunate enough to grow up in relative comfort overseas. The mix of western cultural values and an eagerness to reconnect with their culture in these youths proved a potent recipe for the development of the art².
Many Chinese viewers who first see this installation piece are normally confused and somewhat frustrated, because it is a room full of text (scroll, book, newspaper display) that looks familiar, but is ultimately unreadable. According to Xu Bing, “The artwork itself is a contradiction because it makes a parody of culture while also placing culture in a temple to be taken very seriously”. Princeton University has collected parts of Xu Bing’s work to complement their collection of other important calligraphic works, which includes a letter written by the ‘Sage of Calligraphy,’ Wang
An arc-shaped calligraphy hanging on the ceiling, ancient Chinese books opened on a big square of stage, two other calligraphies arranged on two sides of the walls of the stage, I was visiting the Book from the Sky by Xu Bing, one of the most well-known Chinese artists. Surrounding by the aesthetic collections, I was impacted by the deep strength from the work. Although I knew Chinese, I was shocked because I didn’t recognize any of the characters, regardless how similar they are to the actual ones, in the room. People used to say that the characters are invented to translate the meanings. However, after viewing the exhibition, I came up with a fresh concept that characters themselves could be the main resource of translating the information.
“Places where art really flourishes are those where there are urgent issues that art needs to deal with. ” (Ho, 2005). In this statement, we immediately gather that art isn’t only utilised for the purpose of leisure or entertainment, however inspiration comes from minor things in our surroundings which become greater things in retrospect. Art holds a much deeper and meaningful message, and is often used to reach out to the masses. Common examples are propaganda and protest. In the midst of this identity crisis, Tsou Choi Tsang, a street graffiti artist’s work is of great significance today. The sudden surge of interes in Tsang’s work can be explained by its connection to Hong Kong’s society; the process of creating culture, rather than preserving it. Due to the political and social factors in Hong Kong’s society today, Tsang’s work is perpetually relevant. His work highlights the themes of property ownership, post-colonialism, power, and territoriality. Even 17 years after the handover back to China, and 7 years after Tsou Choi Tsang’s death, his work is still powerful and influential as it covers topics which several locals can relate to.