The Value Of Art Should Not Be Separate From Life

“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.

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.

People often have different opinions and views toward stories or news articles they have read. My Parents killed Santa and Nobody Cared (Santa) by Dakshana Bascaramurty is an essay that tells the story of how a child was shocked to learn from the parents that Santa was unreal and did not exist. On the other hand, In Defense against Graffiti (Graffiti) by Alex Boyd discusses the positive of graffiti. Between the two, the story Graffiti by Boyd is a much better article because it is informative and exciting to read. For some time now there has been controversy on weather graffiti stands out as an art or not ever since it began to appear in a number of galleries worldwide. The reason Alex Boyd’s “Graffiti” is a better essay is because it seeks to distinguish between retrogressive instance of graffiti and positive especially in the messages that they put forward.

New Orleans, Louisiana is a city known for its historic beauty. Everything in Down Town New Orleans has a long history. Whether the histories are beautiful or distasteful they tell our city’s story. In 1960 Jackson Square was declared a national historic landmark due to its growing popularity. New Orleans was built around Place d’Armes which was the original name of Jackson Square (Wegmann). Place d’Armes was changed to Jackson Square shortly after Jackson’s death in honor of him (Wegmann). A few short

From its historic buildings to its quaint cobblestone streets, Laclede’s Landing remains one of the most popular attractions in St. Louis. This unique architecture includes special restaurants, cafes, and gift shops. Laclede Landing represents the birthplace of St. Louis, a tribute to the city Pierre Laclede founded on the banks of the Mississippi River. The Landing’s attractions bring tourists from around the country to the yearly festivals, horse carriages, nightlife and the spectacular culture of St.Louis, also known as the Gateway to the West.

Places have the ability to trigger memories from one’s childhood and experiences. In the excerpt, “In Praise of Margins,” by Ian Frazier, the author argues that marginal places and activities are necessary for our lives because they grant us the opportunity to use our imaginations to have fun without fearing judgment from others. According to Fraizer, these places lack a purpose and don’t need to have an economic value nor need to be productive to be considered valuable. Marginal places are simply a place for you and/or your friends to reminisce all of your memories and reflect back on who you were and how you’ve become who you are now. These marginals are considered to be any place or activity that serve an unintentional purpose. Typically, they originate from childhood adventures such as running around the woods, providing an unintended consequence of a sense of exploration. Through my personal experiences, all of our marginal places and activities change as we age throughout our lives due to societal expectations, but they remain significant because they inspire creativity and allow us to be ourselves.

According to the USA Today, it is the happiest place to live in America. There is a strong sense of recreation, but in a way that encompasses the community that makes up Lafayette. Lafayette encourages doing things together, whether it’s a 15,000 pound crawfish boil, Downtown Alive, a Ragin’ Cajun football game, or dancing at Randal’s, Lafayette thrives on the idea of

Street art is progressively increasing as a forbidding magnet to charm tourists to the Bronx. People are taking benefit of the worldwide interest in street art and its strong origins as a Bronx art form, and expecting that this overpowers what Maruri named the “world-wide problem” of a bad image that the area still fights with.

The main building of the Art Institute is constructed mostly of masonry, with few windows, and feels very heavy and overpowering. Grand staircases and large columns dwarf visitors as they move through the galleries. This is similar to the way the art in the space makes you feel: small, unimportant, and sometimes even afraid. The Modern wing in constructed of steel and glass, and is very open and bright (except when intended not to be). The large north wall facing Millenium Park is one large expanse of windows, letting in plenty of indirect sunlight, and opening the gallery to the park. The space feels very light, in both senses of the word. As with the old building, the art feels similar to the space in that it is more open and less opressive.

Walk among the beautifully detailed iron trellises, exquisite gardens, and colorful palettes of both painted houses and businesses with a local guide in an friendly small group setting for a 2-hour tour of New Orleans to view the Architectural style changes of the eras of its occupants through time and dig up the details about the ancient, mysterious Lafayette Cemetery No. 1.

La Porte, Indiana is a town that avidly cheers for football and basketball teams. Spectators and parents root members on without even knowing who they are. In art shows, spectators meet who the artist is, but with all honesty, our sports teams are positive attribute to the community, but with dozens of students interested in visual and performing arts, these students do not receive the same kind of attention our sports teams do.

In Charles Rearick’s book, Paris Dreams, Paris Memories, he describes the various ways in which Paris is “represented” through various images he identifies as the City of Light, Old Paris, the Capital of Pleasures, and Paname. Rearick further writes how and why these images of Paris came of importance and how they shaped the geographical layout of the city we know today. All of these images together have likewise produced the city of Paris while also providing the framework of Parisian events and experiences.

The Mona Lisa, 1503 - 1506, painted on poplar wood (77 x 53cm) with oil paint.

Given the fact that the city’s downtown district and main point of attraction is marketed as “The Arts District,” the community’s appreciation and support for artistic creativity is to be expected. The unexpected element that specifically Carmel provides is that this support is directed towards all local proponents in the area. In analyzing the recent advertisement for a community art fair (see Appendix B), this concept is more than clear. The poster, marketing the Carmel International Arts Festival, advertises the twentieth running of the event that showcases local artists of all backgrounds, mediums, and interests. At this event, artists (regardless of their skills or expertise) are able to generate self-exposure, sell their work, and introduce more of the community to their cultures and talents. These opportunities for local artists can serve as a means for many of them to use their artwork to earn their