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According to Kan, “graffiti is created with an intended audience and motives” . This suggests that both are important in deciding whether or not to classify graffiti as political. Others question whether it is the motive or the act itself that is important? Lewisohn asks “Do they have to be specifically politically motivated in order to be political acts?” . For Lewisohn, the response depends on two things: How we look at art and politics; and the geographic location or the context in which graffiti is created. We believe that the geographic location does matter because the context may impart meaning. “Political art, much like graffiti writing and street art, when placed in a gallery can become neutralized” . We turn now to the other question, how is art related to politics?
1. Graffiti as a Voice to Change Political Situations
2. Banksy's works
3. The Flower Thrower, created in 2005.
4. Napalm Girl created in 2004-2005.
5. Kissing Coppers, created in 2004.
6. Mona Lisa Bazooka created in 2007-2008
The work about using Banksy graffiti as a voice to change political situations
1. Brighenti, Andrea Mubi. “At the Wall: Graffiti Writers, Urban Territoriality, and the Public Domain.” Spaceand Culture, 13. 2010. Accessed May 06, 2018. 315–332. URL: http://citeseerx.ist.psu.edu/viewdoc/d ownload?doi=10.1.1.903.3503&rep=rep1&type=pdf.
2. Duncan, Alexandra. "Banksy Artist Overview and Analysis". TheArtStory.org. 2018. Accessed May 06, 2018. URL: http://www.theartstory.org/artist-banksy-artworks.htm.
3. Hanauer, David I. “Silence, Voice and Erasure: Psychological Embodiment in Graffiti at the Site of Prime Minister Rabin’s Assassination.” Psychotherapy in the Arts, 31. 2004. Accessed May 06, 2018. 29–35. URL: https://www.researchgate.net/publication/228549666_Silence_Voice_and_Erasure_Psychological_Embodiment_in_Graffiti_at_the_Site_of_Prime_Minister_Rabin's_Assassination.
4. Hanauer, David I. “The Discursive Construction of the Separation Wall at Abu Dis.” Journal of Language and Politics, 10. 2011. Accessed May 06, 2018. 301–321. URL: https://doi.org/10.1075/jlp.10.3.01han.
5. Iddings, Ana Christinia DeSilva, Steven G. McCafferty and Maria Lucia Teixeris da Silva. “Conscientizaca through Graffiti Literacies in the Streets of a São Paulo Neighborhood: An Ecosocial Semiotic Perspective.” Reading Research Quarterly, 46. 2011. Accessed May 06, 2018. 5–21. URL: https://ila.onlinelibrary.wiley.com/doi/abs/10.1598/RRQ.46.1.1.
6. Johnston, Hank. “Let’s Get Small: The Dynamics of (Small) Contention on Repressive States.” Mobilization, 11. 2006. 195–212. URL: http://mobilizationjournal.org/doi/abs/10.17813/maiq.11.2.km73010m00643k0l?code=hjdm-site.
7. Kan, Koon-Hwee. “Adolescents and Graffiti.” Art Education. 54(1), 2001. Accessed May 06, 2018. 18–23. URL: https://www.tandfonline.com /doi/abs/10 .1080/00043125.2001.11653428.
8. Lewisohn, Cedar. “Street Art.” 2008. Abrams. New York. Accessed May 06, 2018. URL: http://www.abramsbooks.com/product/street-art_9780810983205/.
9. Oliver, Anne Marie and Paul Steinberg. “A Geography of Revolt.” Public Culture, 3. 1990. Accessed May 06, 2018. 139–44. URL: https://doi.org/10.1215/08992363-3-1-139.
10. Peteet, Julie. “The Writing on the Walls: The Graffiti of the Intifada.” Cultural Anthropology, 11. 1996. Accessed May 06, 2018. 139–159. URL: http://www.campusincamps.ps/wp-content/uploads/2012/07/The-Writing-on-the-Walls-.pdf.
11. Reed, T.V. “The Art of Protest.” 2005. University of Minnesota Press. Minneapolis. Accessed May 06, 2018. URL: https://www.upress.umn.edu/book-division/books/the-art-of-protest.
12. Veekens, Danny. “Art: An analysis of Banksy.” The Find. May 21, 2010. Accessed May 06, 2018. URL: https://thefindmag.com/hip-hop-art/art-banksys-fatal-flaw/.
13. Walsh, Michael. “Graffito.” 1996. North Atlantic Books. Berkley, CA. Accessed May 06, 2018. URL: https://books.google.com.ua/books/ about/Graffito.html?id=rYudK4zRbNUC&redir_esc=y.
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According to Kan, “graffiti is created with an intended audience and motives” . This suggests that both are important in deciding whether or not to classify graffiti as political. Others question whether it is the motive or the act itself that is important? Lewisohn asks “Do they have to be specifically politically motivated in order to be political acts?” . For Lewisohn, the response depends on two things: How we look at art and politics; and the geographic location or the context in which graffiti is created. We believe that the geographic location does matter because the context may impart meaning. “Political art, much like graffiti writing and street art, when placed in a gallery can become neutralized” . We turn now to the other question, how is art related to politics?
1. Graffiti as a Voice to Change Political Situations
2. Banksy's works
3. The Flower Thrower, created in 2005.
4. Napalm Girl created in 2004-2005.
5. Kissing Coppers, created in 2004.
6. Mona Lisa Bazooka created in 2007-2008
The work about using Banksy graffiti as a voice to change political situations
1. Brighenti, Andrea Mubi. “At the Wall: Graffiti Writers, Urban Territoriality, and the Public Domain.” Spaceand Culture, 13. 2010. Accessed May 06, 2018. 315–332. URL: http://citeseerx.ist.psu.edu/viewdoc/d ownload?doi=10.1.1.903.3503&rep=rep1&type=pdf.
2. Duncan, Alexandra. "Banksy Artist Overview and Analysis". TheArtStory.org. 2018. Accessed May 06, 2018. URL: http://www.theartstory.org/artist-banksy-artworks.htm.
3. Hanauer, David I. “Silence, Voice and Erasure: Psychological Embodiment in Graffiti at the Site of Prime Minister Rabin’s Assassination.” Psychotherapy in the Arts, 31. 2004. Accessed May 06, 2018. 29–35. URL: https://www.researchgate.net/publication/228549666_Silence_Voice_and_Erasure_Psychological_Embodiment_in_Graffiti_at_the_Site_of_Prime_Minister_Rabin's_Assassination.
4. Hanauer, David I. “The Discursive Construction of the Separation Wall at Abu Dis.” Journal of Language and Politics, 10. 2011. Accessed May 06, 2018. 301–321. URL: https://doi.org/10.1075/jlp.10.3.01han.
5. Iddings, Ana Christinia DeSilva, Steven G. McCafferty and Maria Lucia Teixeris da Silva. “Conscientizaca through Graffiti Literacies in the Streets of a São Paulo Neighborhood: An Ecosocial Semiotic Perspective.” Reading Research Quarterly, 46. 2011. Accessed May 06, 2018. 5–21. URL: https://ila.onlinelibrary.wiley.com/doi/abs/10.1598/RRQ.46.1.1.
6. Johnston, Hank. “Let’s Get Small: The Dynamics of (Small) Contention on Repressive States.” Mobilization, 11. 2006. 195–212. URL: http://mobilizationjournal.org/doi/abs/10.17813/maiq.11.2.km73010m00643k0l?code=hjdm-site.
7. Kan, Koon-Hwee. “Adolescents and Graffiti.” Art Education. 54(1), 2001. Accessed May 06, 2018. 18–23. URL: https://www.tandfonline.com /doi/abs/10 .1080/00043125.2001.11653428.
8. Lewisohn, Cedar. “Street Art.” 2008. Abrams. New York. Accessed May 06, 2018. URL: http://www.abramsbooks.com/product/street-art_9780810983205/.
9. Oliver, Anne Marie and Paul Steinberg. “A Geography of Revolt.” Public Culture, 3. 1990. Accessed May 06, 2018. 139–44. URL: https://doi.org/10.1215/08992363-3-1-139.
10. Peteet, Julie. “The Writing on the Walls: The Graffiti of the Intifada.” Cultural Anthropology, 11. 1996. Accessed May 06, 2018. 139–159. URL: http://www.campusincamps.ps/wp-content/uploads/2012/07/The-Writing-on-the-Walls-.pdf.
11. Reed, T.V. “The Art of Protest.” 2005. University of Minnesota Press. Minneapolis. Accessed May 06, 2018. URL: https://www.upress.umn.edu/book-division/books/the-art-of-protest.
12. Veekens, Danny. “Art: An analysis of Banksy.” The Find. May 21, 2010. Accessed May 06, 2018. URL: https://thefindmag.com/hip-hop-art/art-banksys-fatal-flaw/.
13. Walsh, Michael. “Graffito.” 1996. North Atlantic Books. Berkley, CA. Accessed May 06, 2018. URL: https://books.google.com.ua/books/ about/Graffito.html?id=rYudK4zRbNUC&redir_esc=y.
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