Heather mac donald graffiti is always vandalism

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Graffiti Is Always Vandalism

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Graffiti essays art or vandalism graffiti art or vandalism discursive essay writing some work is easier to classify as art dasic for example works as both a graffiti artist and a muralist his pieces are so aesthetically pleasing debate org.

Graffiti art or vandalism discursive essays la galette descriptive essay save water short essay about friendship important othello quotes for essays on love samsung research paper ap lang synthesis essay ford act essay in language philosophy speech essay about new year vacation getaways. Censorship is what happens when the government exercises monopolistic coercion over citizen expression. Private patrons, by contrast, have no obligation to preserve the work that they have commissioned. But that argument would put Fairey at odds with the contemporary art establishment, which claims free-speech martyrdom every time a private institution rejects its work.

Spring 2011

Who is Fairey to issue such an invitation? So much for courage in standing up to the Man. Available evidence suggests: zero. Middle-aged art-world groupies in tight miniskirts, black boots, and bright red lipstick buzzed around Deitch, taking pictures, while Deitch, in a tan suit and open collar, projected cool impassivity. Property owners bring graffiti on themselves, according to Deitch. Moreover, that Deitch would fault a struggling store owner in a crime-plagued area for using roll-down gates suggests just how clueless he is about the world beyond Spring Street in Soho and Melrose Avenue in Los Angeles.

If graffiti were a positive urban art form, it would not allegedly be inflicted as punishment for poor community relations; it would be conferred like a Good Housekeeping seal of approval.

Certain inescapable implications follow from the decision to mount a graffiti show in a museum. Deitch has clearly confronted none of them. The city could save a lot of money by suspending its graffiti-eradication efforts. This will not do.

If graffiti is a boon, the city should not waste its money trying to paint it over. If the city is right to paint over graffiti, why is Deitch promoting it? In theory, it might be possible to mount a show that acknowledged the occasionally compelling formal elements of wall-painting without legitimating a crime.


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No graffiti propaganda has ever abided by such limits; the MOCA show will not, either. And for good reason. It does not belong on canvas but on a building or a train. A few thousand people showed up for the opening-night party.

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Who will remove the tags and stickers? To Deitch, the nameless, faceless property owner is out of sight, and hence out of mind. The assistant, Josh Lazcano, had defaced a building south of Chinatown. It is beyond comprehension how a year-old, as James was in , could be so juvenile as to deface a school.

Of course, anyone who did occasionally visit East Harlem in would have known that, by then, the most immediate risk facing a stranger from midtown was difficulty in locating a Starbucks. A target audience for Art in the Streets is black and Hispanic teenagers, whom the museum expects to crowd the Geffen Contemporary.

It would have been useful if Deitch had spent time talking with garden-variety ghetto graffitists. Curiously, the vast majority of graffiti thugs who have gained art-world notoriety are white and middle-class. One would never think of accusing the art world of racism, of course. Still, that skew means that wealthy graffiti patrons like Deitch may not be fully informed about what a graffiti lifestyle means to a black or Hispanic boy raised by a single parent in a marginal neighborhood. Deitch could find out easily enough by traveling less than a mile and a half from his exquisite office on Bunker Hill to Homeboy Industries, a gang-intervention agency just east of downtown.

Ivan Gonzalez, a year-old in a checked shirt, baseball cap, and black hipster glasses, started tagging in eighth grade in Gardena, a small city in Los Angeles County close to Compton.

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Tagging MOCA - Los Angeles Times

He dropped out of school in the eleventh grade and has never held a job for more than a year. He continued tagging with the Graffiti Bandits Krew for the next two decades, finally serving a four-year prison sentence for vandalism. My friends are now either in prison or doing things I no longer want to do. Carlos Mesa, a squat year-old with crucifix necklaces, a shaved head, and tattoos on his arms and neck, tells a similar story. He was once a bookworm, he says.