Tre Graffiti Paradigm: The Art of the Piece Essay -- Visual Art Artis

Tre Graffity Paradigm The Art of the Piece Its 1100 p.m. on a Tuesday when three young men, b arly high school age, shiftiness through a chain-link fence and into a New York City trainyard. individu every last(predicate)y carries a duffel bag, from which can be heard the rattling and sound of spray cans. Six hours later, they re-emerge, their hands stained with paint and their bags almost empty. What pay back they d unity? Inside the yard now stands a freshly assorted mural, sixty feet wide and twelve feet high. The work is the result of weeks of designing and planning, and with risk it might last as long on the train as it already has on paper. What the boys have done, what has taken place inside that trainyard, is a work of imposture. Let us begin with a basic assumption. One whitethorn object to graffiti on social or example grounds, exclusively only in the most conservatist terms can it not be considered art. Any idea of art which does not go out of its style to di sinclude vandalism will, in fact, contain graffiti. We will, then, put aside social and moral considerations for the duration, and consider graffiti as art. What does the work consist of? Who authored it, and how? What is it based on, and how does it tinct? What is it, and what will become of it? The answers to these questions, collectively, form an important response to a big question What is art? What does it mean to describe a piece as a work of art?AUTHORSHIP The young men have, in the course of this night, authored a piece, a work of graffiti. In the traditional sense, penning is defined as the creation of the work. In such a sense, one of these young men is the author of the piece. One of the artists claims the piece as his own, and gives credit to the other two for assis... ...ach style is in the distance between the front styles and the style of the existing piece. Here, then, is the nature of art which graffiti exposes. Art is an activity, not an object it is some thing which happens when foundations ar developed upon and, most importantly, when new reference points are created. Each new reference point is a work of art each new reference point is art.Works Used/ gain ReferencesThe quotes at the beginning are from New York City graffiti artists Bando and Seco, and came from electron tube Art, by Henry Chalfant and Martha Cooper. This book and another, Spraycan Art (by Chalfant and James Prigoff), have been invaluable resources.Another invaluable resource is the ArtCrimes web site, at http//graffiti.org/. The definitions above are taken from that sites glossary, and I found my way to all the pictures from that site as well.