This paper examines graffiti as an object that has historically confounded stylistic or formal analysis proper, although elements of this deviant form of mark making have been appropriated as expressive resources within the recognisable styles of modern and contemporary art. In the last two decades, as the mainstream has begrudgingly come to accept the artistic merit of graffiti murals or pieces, the notion that tags are done by unskilled It is the essential component for learning, practicing and mastering the form of graffiti as vandalistic art. Graffiti as we know it cannot exist without the tag. This is well known to the members of the subculture (and most who study it) but complete heresy to the rest of the world. Tags are most often performed in public spaces under difficult circumstances and when done skillfully they are as beautiful as any mural. Graffiti tags represent the science of style-the aestheticized repetitive practice of writing the letters in a name in an effort to create a personal calligraphy. This chapter attempts to glorify in a small way, the most basic, and arguably the most hated, form of graffiti-the tag. The chapter starts by contextualizing my own first 'reading' of graffiti tags, then talks about how the 'writing' of graffiti is practiced, and concludes with a detailed discussion of TWIST (Barry McGee) and AMAZE's (Josh Lazcano) collage of graffiti tags that vividly represents the contradictions of this subculture and its reception from the public. The impetus for this comes from the photo on the cover of this book, a provocative legal piece produced with an 'illegal aesthetics', i.e. My aim is to challenge these conceptual binaries by focusing on one of the most enduring and least understood aspects of graffiti writing, namely the tag. ISBN 978-0-8147-4046-0.This short chapter examines the inherent contradictions of graffiti often thought of in simple polarities, such as legal vs. Graffiti Lives: Beyond the Tag in New York's Urban Underground. Graffiti Art Styles: A Classification System and Theoretical Analysis. "The graffiti within: the reactivation and politicisation of Sydney's subterranean". "Discourse on Difference: Street Art/ Graffiti Youth". "Incorporation And Exploration Of Local Imageries And Identities In Malaysia's Graffiti Art". ^ Abdullah, Sarena Mohamad, Norshahidan (). Routledge International Handbook of Visual Criminology.
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |