Film Is Not Considered an Art Form True False
"I don't know what art is, but…." People have been finishing this judgement with "I know what I like" or "I know it when I see information technology" for a long, long time.
How exercise you lot define "art"? It is something that shows mastery, has stood the test of fourth dimension, speaks for the era in which it was created, is valued by the masses, is not valued by the masses–or something else?
In "Stalking a Most Prolific Phantom," Michiko Kakutani reviews "Banksy: The Man Behind the Wall," a book by Volition Ellsworth-Jones that is almost the work of the elusive graffiti creative person.
The graffiti artist Banksy'southward work is immediately recognizable: clever, funny, sometimes political stencils and artworks that have popped upwards on walls (and occasionally in museums and galleries) in cities effectually the world — giant rats clutching paint brushes or umbrellas or boom boxes; chimps wearing placards ("Laugh now, just 1 24-hour interval we'll be in accuse"); trompe l'oeil windows/holes (opening out onto a mountain vista or a picturesque embankment or a pretty cloudscape) on barrier walls in the West Banking concern; children wearing gas masks or chasing later on balloons that are floating away.
Some are out-and-out sight gags — giant scissors with cut-hither dotted lines stenciled on a wall. Some are doctored works, replacing the Mona Lisa'due south famous visage with a yellow smiley confront or flinging some shopping carts into one of Monet'due south tranquil water gardens. And some are oddly philosophical meditations: showing a leopard escaping from a bar-lawmaking zoo cage, or a woman hanging up a zebra's stripes to dry on a laundry line. What they have in mutual is a coy playfulness — a desire to goad viewers into rethinking their surroundings, to admit the absurdities of closely held preconceptions.
Over the years Banksy has tried to maintain his anonymity. He has argued that he needs to hide his real identity considering of the illegal nature of graffiti — that he "has issues with the cops," that authenticating a street piece could exist like "a signed confession." But equally obscurity has given way to fame and his works have become coveted — and costly — collectors' pieces, critics take increasingly pointed out that Banksy has used anonymity every bit a marketing device, equally some other tool in his arsenal of publicity high jinks to burnish his own mystique.
… Mr. Ellsworth-Jones's book is at its about fascinating in tracing Banksy's development from outsider, spraying walls in Bristol like dozens of other immature graffiti practitioners, to international artist with work that "commands hundreds of thousands of pounds in the auction houses of Britain and America." He is adept at examining some of the existential dilemmas this success created for Banksy — dilemmas shared by many outsider and counterculture artists, who suddenly find their work embraced by the very mainstream they'd one time scorned.
He too looks at the eclectic new fans (including kids and street toughs) that Banksy's art has attracted to museums and galleries, and the debates over whether wall art by Banksy and other graffiti artists should exist left on the streets, where information technology runs the danger of beingness written over, defaced, scrubbed make clean by city cleaning crews or filched by opportunists eager to make a fast buck. Some argue that such pieces should be liberated, so that they tin can be preserved and exhibited in museums and other places. Others argue that context is everything, that these works were made for specific sites and need to be seen in their original surroundings. If they vanish, and so be it; ephemerality is role of what street fine art is. (And besides, photographs posted on the Web, which has hugely accelerated his fame, can ever provide a pictorial record.)
In one interview, Banksy observed: "I've learnt from feel that a painting isn't finished when you put down your brush — that's when information technology starts. The public reaction is what supplies significant and value. Fine art comes live in the arguments you have almost it."
Students: Tell u.s. …
- What do you call up of Banksy'due south statement that public reaction gives art pregnant? What examples back your point?
- Do yous consider the Banksy image shown to a higher place to be fine art? Why or why not?
- Have you ever been moved by a piece of graffiti, street art or even a billboard?
- Does the viewer need to be moved in order for something to be considered art? Why or why not?
- How practice you interpret Banksy's anonymity? Is information technology art, marketing, shyness?
Notation: Students, delight use only your start name. For privacy policy reasons, we will not publish pupil comments that include a concluding name.
Source: https://learning.blogs.nytimes.com/2013/02/19/can-graffiti-ever-be-considered-art/
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