EFFECTS OF
STREET ARTS AND
GRAFFITI AS A
MOTIVATIONAL
ASPECTS TO
THE STUDENTS IN
LIPA CITY ?
CHAPTER 1:
INTRODUCTION:
In the past decade, street art has unquestionably become an
integral part of metro politan visual culture. There is no City in the
world without walls covered in a mixture of artistic creations, and it is
practically impossible to disregard the existence of this art movement.
As a group, we decide to investigate street art culture in Lipa City. To
discover wether it is possible for this rebellious movement to resist
profit governed social and political structure. We also looked to main
issues connected to the recent commercialization of this movement as
the new emerging presence of street art in the gallery institutions. The
transformation of the context and occurred similarities to the previous
art movement in terms of their commercial development and
popularization. To find out about what is hidden behind the curtain,
which separates the ordinary viewers and the artists in undoubtedly a
challenging task. Not much academic literature focuses on the
commercialization of the street art and there are many graffiti artist
who wish to keep their identity unrevealed. However, we have
managed to get underneath the surface of the scene and have met
several Lipa based street artist. The subject of street art highly based on
visual perception, following that we have decide that the best way to
approach this project would be to make a short documentary film. It is
important to state that the process of making the documentary
required a good time management, sufficient organization and
communication skilled. We also experienced a series of difficulties that
we had to overcome such as acquirement of equipment and editing
facilities.
BACKGROUND OF THE STUDY
Germany’s Berlin Wall (shown 1986) was target of artists
during its existence (1961 – 1989)
“Independent Public Art” such as a balance sculpture can be
installed I remote areas, and may be short – lived. Street art is a form of
artwork that is displayed in a community on its surrounding buildings,
street, trains, and other publicly viewed surfaces. Many instances come
in the form Guerrila Art, which is composed to make a public statement
about the society that the artist lives within. The work has moved from
the beginnings of bring messages, or just simple beauty, to an
audience.
Some artists use “ smart vandalism ” as a way to raise
awareness of social and political issues. Others simply see urban space
as an untapped format for personal artwork, while others may
appreciate the challenges and risks that are associated with installing
illicit artwork in public places. A common motive is the creating art in a
format which utilizes public space allows artists who may otherwise
feel dice franchised to reach a much broader audience than other styles
or galleries would allow.
Whereas traditional graffiti artists have primarily used spray
paint to produce their work, “street art ” encompasses many other
media, such as LED art, mosaic tilling, stencial art, stricker art, reverse
graffiti, “LACK ” sculptures, street installation, wheat pasting, wood
blocking, yarn bombing, and rock balancing. New media forms such as
projection onto large city buildings are an increasingly popular tool for
street artists---- and the availability of cheap hardware and software
allows street artists to become more competitive with corporate
advertisements. Much like open source software, artists are able to
create art of the public realm from their personal computers, similarly
creating things for free which compete with companies making things
or profit.
Some observers use the term “independent public art” to
discrible a type of street art, which can also include work in remote
places that may not be visited by an evidence, and may also be short –
lived. An epherecal instance of colored smoke in the forest, or a
precautious rock balance are examples. Some work has been installed
underwater.
STATEMENT OF THE PROBLEM
Street arts is in its most basic form, art in pubic places.
Although its two main types, murals and graffiti, most often define
street art, it can also encompass street performing and city –
sanctioned displays of art.
The controversy within this subject lies in the fact that “ a
street artist rarely produces commissioned work, so the resulting
artwork is bound to affect the property owner’s life. However, City
Governments such as Eugene, Oregon’s have begun funding public art
programs that commission street art to “ interact with citizens.
In additional to City – sanctioned and non – sanctioned art,
street performng ( or busking ) has been marked by bans, but remains
an important form of artistic self-expression. Although the illegality of
street arts makes property owners wearisome of gang activity, street
artist argue of its illegality. Despite the progress it has made, street art
remains “ a complex social phenomenon “.
CONCEPTUAL FRAMEWORK
10
REASON
