Graffiti Art Essay Example for Free

Graffiti Art Essay In the late 1960s’s, another art genre was recognized and developed although its lack of form and other basic aesthetic elements has been once a topic of debates as regard its acceptance in the artistic world. Obviously, it differs from the works of art found in museums and galleries and its kind are not found in those elite locations because its location is specific. The location of graffiti art has been actually a subject of oppositions as well as its bold, unexpected and unconventional presentation. Although still, its location, may it be illegal, does not disqualify it as art. Thus, graffiti art is a form of art despite criticisms on its legality, coherence and presentation. It is also argued that graffiti art is a form of vandalism, but this is true only if they appeared on private or public property without permission. Graffiti art is indeed another genre of visual masterpiece. Graffiti comes from â€Å"grafficar†, an Italian word for drawings, markings, patterns, scribbles, or messages that are painted, written, or carved on a wall or surface. Graffiti is the plural of grafficar. Grafficar also signifies a process meaning to scratch. Examples of which are different wall writings ranging from cave paintings, bathroom scribbles, or any message that is scratched on walls. In the ancient Egypt and Rome, in particular, graffiti has been visible in monuments and building walls which are now being explored. It is originally used to term inscriptions, figure drawings, and other carvings found on the walls of ancient sepulchers or ruins. Examples are the Catacombs, or those found at Pompeii. (Whitford, 1992. pp. 137) In the modern era, present day graffiti is also associated to any unsolicited markings on a private or public property, usually considered to be vandalism. In the early 1970s young New Yorkers has started to adopt tags, signatures and signs using aerosol sprays and markers in public places. The youngsters, belonging to the black and Puerto Rican communities have initiated the tagging which eventually developed and soon covered the citys walls, buses and obviously in subway trains. Tags even cover the entire train. Some may contain screen names or reflections of the writer, comes in subtle and often cryptic messages. Taki, an artist of Greek-American descent, was the first modern identified tagger in New York. He signed himself Taki 183, the number probably derived from the number in his apartment block. Some names also made their appearances in some real urban murals painted with spray-paint. Tags such as Futura 2000, Dust and Pink gained fame and recognition in the world of hip-hops. There were also Basquiat and Haring who also started to work in the street and the subway but their works swiftly spread beyond the works of graffiti. Their works attracted the attention of influential dealers which put them in great demand although their works were considered one of the rare forms of graffiti art. (Graffiti†¦ 2007, p. 1) Tagging and graffiti differs from each other although arguments about this difference still arise. Tagging is associated negatively as gang-motivated and illegal because it is usually meant as vandalism. It is also viewed as too vulgar or controversial to have public value. On the other hand, graffiti can be viewed as creative expression, not to mention its usual link to politics. Main Types of Graffiti Art The main types of graffiti fall into different categories and have their own names which are recognized in cities all over the world. First is â€Å"Hip Hop Graffiti†. This is characterized by ‘pieces’ which hip hop graffitists create by aerosol spray paints. They are large and colorful works, usually including either a complex mix of letters or a cartoon-style picture. This type of graffiti often lacks much thought and planning in design and usually takes an extended period of time. Second is the â€Å"Opportunistic Graffiti† which location is selected impulsively, on the basis of low risk and low natural surveillance. Graffitists of this type usually use tags or scrawling to mark their territory. Third type is the â€Å"Gang Graffiti†. Gang graffiti is not art work but a sophisticated communication to publicize gang power, status, and territory. This type is somehow related to opportunistic graffitists because they also use tags or scrawling to mark territory. But in addition to this, gangs use graffiti to create notoriety or show off their defiance of the law and society, and as a mode of marking their presence. The fourth, the â€Å"Political Social Graffiti† is obviously of racial or political motivation. This is uncommonly regarded as part of the graffiti subculture, although it is recognized as damaging to property. The last type is the â€Å"Commercial Graffiti† which is an emerging civic problem. This involves huge compensations paid by private organizations to graffitists to spray advertising logos onto walkways and buildings for promotions of their products. This type is an illegal form of advertising that avoids normal planning laws. (Stowers 1997, pp. 1-2) Gang Graffiti: The Most Dangerous Graffiti The gang graffiti is the most controversial not just because of the characters of its writings but because of its social impact in the neighborhood. Gang graffiti is an indication of gang presence in the community. Gangs use graffiti as their newspapers, thus they usually call it â€Å"newspaper in the wall† as gangs use them to send messages. This is their way of marking boundaries and warning rival gangs. Graffiti may also be an instrument to advertise drug market or, as a memorial to a killed gang member. Symbols and cryptic writing style is exclusive in each gang. Death warrants and beat downs are known to be posted in graffiti. Upside down or crossed out graffiti generally means a put down or threat to a rival gang or person. (Bland and Read 2000) According to Michael Carlie (2002), graffiti is the most common method of gang communication and a major symbolism of their gang affiliation. Jonathan Kellerman (1994) as cited by Carlie referred to graffiti as â€Å"the hieroglyphics of rage† because of the violence associated with it. On the surface, a person who is not familiar with it might think of graffiti as a simple nonsense painting on the wall or in poles or elsewhere, or just a plain vandal. Carlie adds that among other things, graffiti communicates the â€Å"role call† or the roster of gang members, or the hierarchy of gang members. It also implies whos around, whos with who, whos disrespecting who, which gangs are claiming what territory and which areas are in dispute. It may be an announcement of current gang activities and whos getting ready to attack who, or whos already been killed. A familiar language, for example, is the â€Å"X† which if marked on a member’s name means he is the likely target for an attack or murder. (Carlie 2002, pp. 2) An important not on gang graffiti is, in many ways, it is a code and codes in general are subjects to analysis. Deciphering gang graffiti requires the understanding of the symbols, abbreviations, structure, that composes the gang language. In the United States, gang graffiti is usually based on two dominant styles the L. A. and Chicago styles which vary greatly and influence to some degree across the country. Some gangs use an exclusive style while others use a combination. For example, the Gangster Disciples originated in south-side of Chicago might combine L. A. style gang lettering with Chicago Folks Nation symbols. In New York, Latin Kings might use Chicago Latin King symbols but with New York tagger style graffiti lettering. (Graffiti 2010) These styles and some of the variations are seen throughout the country and a person who understands both styles is more likely to understand most, if not all, gang graffiti. Characters of gang related graffiti has sharp, angular stick letters, or mostly contains religious, even â€Å"satanic† imagery, or is done in one color of paint. Most of the times they are very simple and flat-out which make them easy to figure out. But no matter how simple they appear, it still requires some basic code-breaking skills. (Deciphering Gang†¦2010. p. 1) Figure 1: WS 18 St, HGS West Side Eighteenth Street (gang), Hoover Gangsters (a clique of 18th Street) Two-digit numbers, especially â€Å"13? , â€Å"14? , or â€Å"18? , signifies graffiti for a hispanic gang while three digits, especially if they are the area code of your neighborhood, it’s almost certainly not a hispanic gang, but a typical prison or street sort. Exception to this is numbers followed by â€Å"K† which means a threat from a rival gang. â€Å"WS18? (figure 1) is a tag for the (hispanic) West Side 18th Street gang out of California. â€Å"WS18K† means a threat towards 18th Street by a local gang. Note that â€Å"K† is short for â€Å"Kill†. If there are two digits, see if they’re prefixed by â€Å"N†, â€Å"S†, â€Å"E†, or â€Å"W† (or â€Å"NS†, â€Å"SS†, â€Å"ES†, or â€Å"WS†) which relate to the cardinal directions, and form part of the gang’s identity. Hispanic gangs more often use 13 and 14 the 13th letter of the alphabet is â€Å"M†, which generally stands for â€Å"Mexico† or â€Å"La Eme†, the Mexican Mafia and the 14th letter â€Å"N† generally means â€Å"North† that symbolizes which end of California the gang originated from. It is a division as gangstas from the north and south parts of California frequently clash. Figure 2: Lil Capone WS VSLC, crossed out BK, Crossed out PBGK Lil Capone (name of gang member) West Side Venice Shoreline Crips, Blood Killer, Playboy Gangster Killer (disrespect to rival gangs) Certain patterns appear without the numbers. As always, â€Å"K† is a threat to â€Å"(K)ill†, as are any crossed-out letters. â€Å"A† as in â€Å"Almighty† â€Å"N†, that virtually stands for â€Å"Nation† can be safely ignored. When seen together, which usually occurs, it show up that the gangs used to calling themselves the Almighty Whatever Nation. Figure 3: GD around Star of David with number six inside the star, pitchfork extending from the D Gangsters Disciples with six point star representing GDs and Folks. Pitchford represents GDs and Folks Gangs which are known in the country carry a finite code which makes them easy to identify. â€Å"GD† is the Gangster Disciples and â€Å"VL† are the Vice Lords. â€Å"LK† are the Latin Kings, and â€Å"LQ† the Latin Queens; sometimes when they’re getting along, they’re the LKQ Latin Kings and Queens. Crossed-out letters in gang graffiti usually mean a threat. Letters â€Å"B†, â€Å"C†, â€Å"F†, â€Å"P†, or â€Å"S† crossed-out in a piece of gang graffiti, it signifies a threat towards a gang whose name, â€Å"nation†, or nickname begins with that crossed out letter. In the Vice Lord tag, the letter â€Å"C† is not crossed out which tells you the local Vice Lords don’t have complaints with the (C)rips. Gangs should write very carefully because all too often, little slights in graffiti like crossing out letters, or painting over rival gangs’ tags, are a sure warning sign of impending gang war. Figure 4: CVLN Conservative Vice Lords Nation. Cane extending from the L is a CVL symbol. Upside down pitchfork shows disrespect towards Fold Nation gangs. Knowledge in deciphering gang graffiti introduced you to a neighborhood of gangs. In (figure 4) the â€Å"C† is short for â€Å"Conservative†. The â€Å"Conservative Vice Lords† are one of several dozen larger Vice Lord â€Å"sets† around United States. Some communities have taken a massive campaign against graffiti and also intensifies gang reduction. In Florida, the Florida Department of Corrections website posts information to help educate the public in reducing gang activities, which imposes threat to the community. Some gangs, the website says, even use graffiti as Death warrants to authorities specifically to police officers. Community awareness program in most part of America uses the 4 Rs of graffiti to intensify campaign against gangs and gang graffiti. The slogan says, â€Å"READ IT, RECORD IT, REPORT IT REMOVE IT†. (Deciphering Gang†¦2010, p. 1) Thus, citizens should read it and report it to police, and police will record it and then remove it. These steps are important but the removal of the graffiti is the most risky. Removal of graffiti manifests the neighborhoods refusal to be dominated or intimidated by gangs which is a language most gang members understand. Neighborhood residents who ignore graffiti and bother not to remove them are viewed as frightened and weak by the gangs who made them. At the worst, there are instances that gang members attack people who attempt to remove or cover their graffiti. Gang graffiti is the most dangerous of all graffiti and can usually be found around community rail stations. It marks territory and rival gangs usually challenge for territory by crossing out another gangs graffiti. It imposes real and great danger to the residents. Messages in graffiti are taken seriously by gangsters and the longer graffiti is, the greater the risk that the threats will be acted on. Graffiti is a gateway crime and membership in gangs certainly guarantees a criminal record. Since juvenile of minor age receives more lenience when it comes to punishment, the minors are the usual target of recruitment and the doer of crimes. Residents Against Graffiti Everywhere (RAGE) is a community group that looks at social issues and works with local councils and Governments towards promoting a zero tolerance policy on graffiti. (Bland and Read 2000, p. 179) By legal definition, graffiti is vandalism. It is the unauthorized application of markings on someone else’s property, especially without permission. Therefore, legality wise it is a crime. The manner that graffiti is regularly produced as illegal detracts it from the concept to be considered an art form. Very unfortunately that graffiti is responded with outrage over the abuse of someone’s property. This negative connotation may take away the value or impact of the artist’s original message. Perhaps, it would be better to get permission from the owner of the â€Å"canvas† to display the art. Yet, graffiti still elicits emotional response even in its illegal state. Furthermore, it is composed of lines, shapes, color, tones, and forms in a display that conveys a certain message and elicits an emotion. Therefore, it is safe to say that graffiti is indeed an art. As George Stowers (1997) presented four criteria as basis that some forms of graffiti become a work of art. First, the artists intention to produce a work of art separates graffiti art from everyday graffiti markings. Second, graffiti art established a history of development in style and technique. Third, the art world has already recognized graffiti as an art form. Fourth is the public response to graffiti art indicates that it is art. Regardless of the message it conveys, the fact that graffiti carry the aesthetic and creative symbolism and expression, public agrees that graffiti is a form of art. Like other art forms, graffiti art is a definite art when both the artist and the audience agree on the works ability to provide maximal aesthetic satisfaction. Graffiti is presently known as spray can art which is a form indeed recognized as art. It has form, color, and other base properties as any other art pieces. It also has as an arrangement of these elements into structures that qualify it aesthetically as being art. However, something that is done with spray paint might make it graffiti, but not necessarily qualify as art or graffiti art. Location and presentation still are the factors that hinder the general acceptance of graffiti art. However, the instances that the art world’s acceptance of graffiti art shows that conventional methods of presentation are not all that matters in determining graffiti as an art. Graffiti in the form of spray can art is art like any other work that might be found in a gallery or a museum. References Bland, N. Read, T. (2000). Policing Anti-social Behaviour. Police Research Series 123, Policing and Reducing Crime, British Home Office, London, UK. Carlie, Michael. (2002) Graffiti and Other Gang Identifiers. (Into the Abyss: A Personal Journey into the World of Street Gangs) Retrieved 23 May 2010 from http://faculty. missouristate. edu/m/MichaelCarlie/what_I_learned_about/GANGS/graffiti _and_other_identifiers. htm. Deciphering Gang Graffiti (2008). The Slugsite. com. Retrieved 23 May 2010 from http://www. slugsite. com/archives/825. Graffiti. (2007) The Huntfor. com retrieved 23 May 2010 from http://www. huntfor. com/arthistory/C20th/graffiti. htm.

Free Essays - Nuts that are not Nuts in A Book of Showings :: Book of Showings Essays

Analysis of Nuts Which Are Not Nuts in A Book of Showings    Note: Because of the specific nature of the text, I thought it might be useful to attach the whole of it on the cover page for perusal at leisure if you so desire. Below is the text from the Norton Anthology of English Literature (p. 295), and under that the assumptions I make in reading the text. The former is directly from the book, and as it is all on one page, I will refrain from noting that page every time I reference the text. If you wish examples, everything is below and will be treated as my point of reference in all situations. The latter are important so that I don't have to cover them in the body of the essay, as they are generally logical assumptions gleaned from the reading which I don't have the space to spend time explaining. They may be referenced for the proof, however.       And in this he showed a little thing, the quantity of an hazelnut, lying in the palm of my hand, as me seemed, and it was as round as a ball. I looked thereon with the eye of my understanding, and thought: What may this be? And it was answered generally thus: It is all that is made. I marvelled how it might last, for me thought it might suddenly have fallen to nought for littleness. And I was answered in my understanding: It lasteth and ever shall, for God loveth it; and so hath all thing being by the love of God.    In this little thing I saw three properties. The first is that God made it, the second that God loveth it, the third that God keepeth it. But what beheld I therein? Verily, the maker, the keeper, the lover. For till I am substantially united to him I may never have full rest ne very bliss; that is to say that I be so fastened to him that there be right nought that is made between my God and me.    This little thing that is made, me thought it might have fallen to nought for littleness. Of this needeth us to have knowledge, that us liketh nought all thing that is made, for to love and have God that is unmade. For this is the cause why we be not all in case of heart and of soul, for we seek here rest in this thing that is so little, where no rest is in, and we know not our God, that is almighty, all wise and all good, for he is very rest. Free Essays - Nuts that are not Nuts in A Book of Showings :: Book of Showings Essays Analysis of Nuts Which Are Not Nuts in A Book of Showings    Note: Because of the specific nature of the text, I thought it might be useful to attach the whole of it on the cover page for perusal at leisure if you so desire. Below is the text from the Norton Anthology of English Literature (p. 295), and under that the assumptions I make in reading the text. The former is directly from the book, and as it is all on one page, I will refrain from noting that page every time I reference the text. If you wish examples, everything is below and will be treated as my point of reference in all situations. The latter are important so that I don't have to cover them in the body of the essay, as they are generally logical assumptions gleaned from the reading which I don't have the space to spend time explaining. They may be referenced for the proof, however.       And in this he showed a little thing, the quantity of an hazelnut, lying in the palm of my hand, as me seemed, and it was as round as a ball. I looked thereon with the eye of my understanding, and thought: What may this be? And it was answered generally thus: It is all that is made. I marvelled how it might last, for me thought it might suddenly have fallen to nought for littleness. And I was answered in my understanding: It lasteth and ever shall, for God loveth it; and so hath all thing being by the love of God.    In this little thing I saw three properties. The first is that God made it, the second that God loveth it, the third that God keepeth it. But what beheld I therein? Verily, the maker, the keeper, the lover. For till I am substantially united to him I may never have full rest ne very bliss; that is to say that I be so fastened to him that there be right nought that is made between my God and me.    This little thing that is made, me thought it might have fallen to nought for littleness. Of this needeth us to have knowledge, that us liketh nought all thing that is made, for to love and have God that is unmade. For this is the cause why we be not all in case of heart and of soul, for we seek here rest in this thing that is so little, where no rest is in, and we know not our God, that is almighty, all wise and all good, for he is very rest.

Belonging Essay

Response A sense of belonging can be found in many different places. But for one to belong to self, group or place one must fully understand one’s past. Peter Skrzynecki’s â€Å"10 Mary Street† and â€Å"Migrant Hostel† are two poems that explore his past, showing his attitudes and his quest to belong. Another text that explores this author’s past is John J. Encarnacao’s short story â€Å"Coming of Age in Australia†. These texts all explore relationships and feelings of cultural isolation. Relationships can be found in all 3 texts. Whether they are in the past or the present, they still form a basis to belong. Skrzynecki’s poem â€Å"Migrant Hostel† depicts the ? rst place that Skrzynecki arrives in Australia. From the beginning, it can been seen that Skrzynecki belongs to a forever changing group, a group of migrants held in a hostel where â€Å"No one kept count – Off all the comings and goings. † These opening lines give a sense of insecurity and instability. However, the â€Å"Arrival of newcomers†, shows the positive side of the migrant group, all embracing each other, and belonging to each other. With out this experience, however negative it may seem, Skrzynecki would not have been able to retell this story, his story, and ? d the places, or groups that he belongs to today. Another poem of Skrzynecki’s that explores relationships is â€Å"10 Mary Street†. Throughout this poem, the reader watches young Skrzynecki grow up and develop. In the beginning of the poem, Skrzynecki is naive to the world around him, â€Å"For nineteen years we departed each morning – Shut the house – Like a well-oiled lock†. He is placed into a routine. He does not know his own way, only to do as he is told. This poem explores the lack of a relationship, this lack that could shape one and possibly damage one’s self. My Parents watered plants – grew potatoes and rows of sweet corn: Tended roses and camellias – Like adopted children†. Skrzynecki feels unloved, like his parents care more for their plants than for their child. Without this relationship of work between parents and child, it would not have developed Skrzynecki personality into the one it is today. A similar type of relationship is shown in Encarnacao’s â€Å"Coming of Age in Australia†. Encarnacao is lost in Australia, his new country, â⠂¬Å"It has taken me 36 years, six kids, a divorce and a dozen jobs to come of age in Australia†. He feels secluded as a child. THe only way that he felt he could belong was to ? ght, â€Å"Fighting was a part of life†, â€Å"you had to ? ght – and win. It was the only way of gaining respect. † Encarnacao was lost, unloved, and didn’t belong. For him to belong in today’s society, â€Å"An Australian will still call me dago – but most of the time, it is over a friendly beer†. He had to ? ght his way through the harm, and become immune to the torment to become a man in Australia. Like every person in the world, Skrzynecki and Encarnacao made judgements, some good and some bad, and some that isolated them from other parts of their new culture. This judgements can be what what shapes a person, the can make a child into a man. Encarnacao’s wrong judgement to ? ght may have helped him develop a sense of belonging to a darker side of the world, but without it he would not have become the man he is today. This can be found in Encarnacao’s â€Å"Coming of Age in Australia†. Encarnacao now understands that what he did, help build the society of today, â€Å"I was not to know that Australia was growing up along with me†. Skrzynecki was faced with similar problems in his childhood. In â€Å"Migrant Hostel† Skrzynecki is in captivity, belonging to a group of so called outsiders. He had only found hope on the darkest of places, â€Å"Needing its sanctions to pass in and out of lives – That had only begun – or were dying†. He thought his only way out was death. Similarly, in â€Å"10 Mary Street† Skrzynecki thinks he ? nds his place of belonging, to belong to Australia, â€Å"We became citizens of the soil – That was feeding us Inheritors of a key – That’ll open no house – When this on is pulled down. † but he has lost his pre-war identity and does not feel like he belongs to Australia. With the bene? t of their current lives, both Skrzynecki and Encarnacao now know that their possible bad judgements, that caused them pain, have helped them to ? nd a sense of belonging today. Skrzynecki and Encarnacao tell their past, a past of exclusion and pain. But without them understanding their past, they would not have been able to ? nd their place or group of belonging that they are a part of today. This is re? ected in Skrzynecki’s â€Å"Immigrant Chronicle† and Encarnacao’s short story â€Å"Coming of Age in Australia†.

The Dreamers By Dave Isay - 1347 Words

What really defines a dreamer? Is it the children who have unrealistic dreams of playing in the big leagues or is it someone who has a plan and will go out of his or her way to achieve it? Both of these options can be true. Dreamers are special in this world because they have hope for something they believe in. Nothing is more fascinating than seeing an individual who never gave up and worked extremely hard to reach their goal. Having read only three sections so far, I have explored the individual’s purpose and passion for the work they pursue. The â€Å"Dreamers† section has made me analyze what I have and want with my future career. Overall, the elements of the book defining dreamers explains the meaning of a risk taker, the hard work and dedication involved, and the passion it takes to reach your goals. Dave Isay strongly connects with his readers in the â€Å"Dreamers† section of Callings. Adventure and purpose surround this section especially with the bridge-tender, street astronomer, and the NBA referee story. Defining a dreamer can be determined in many ways. As said before, adventure and purpose are the main components of a dreamer. The information gained from this section is that dreamers have this sense of hope and passion for the calling they pursue no matter what it is. Individuals such as Herman Heyn lived out their dream by performing certain tasks. Herman made a living by working as a street corner astronomer and never worked a day in his life because he