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Riggle (2012: 255) describes street art as “artworks whose use of the street is essential to their meanings.” In this, Riggle implies that street art is necessary and applicable only in streets where they display their significance to several passers-by. There are several street arts that are available in various holographs in today’s museums and other photo and pictures sources such as archives. This essay will succinctly verify or back up Riggle’s description of street art using two popular and early drawing artists; England based graffiti artist, Banksy and South African artist, Robin Rhode. The two are renowned street artists whose artworks have been posted on various websites. The essay will mainly handle the role or the necessity of street artworks, as well as their impacts to the immediate society. To begin with, Banksy did several artworks which are mainly considered street art with hidden meanings that are necessary to teach certain lessons to the society. Since he was also a painter, political activist and film director, he came up with attractive street art graffiti and inherent dark humor that was excellently done in distinctive and special inherent stenciling technique. Most of his artistic works have been featured in public areas such as walls, streets and bridges. Historically, his work was born out of artist-musician collaboration popularly referred to as Bristol underground scene. One of his street artworks was a stenciled graffiti that appeared on Thames Water tower. It was located in Holland park roundabout. The image consisted of a child clutching and doing painting work on the tag titled “Take this society”. Councilor Greg Smith (London and Fulham spokesman) considered the photo vandalistic and made an order for its instant removal from the location. The removal was carried out by the then H&F Council workmen within three consecutive days. The graffiti had a lot of significance to the then European society, in terms of its political situations. Analytically, the artwork was meant to show that Europe was under control by a particular group of its leaders who controlled every life sector in the continent beginning from economy, social lives, as well as the politics. The idea of the boy painting the tag is sarcastic in the making as he advises or informs some people in the society to take control and own the society personally. The child symbolizes the common man in Europe who is unhappy with some of totalitarian practices exhibited by the leaders in the way they govern their subjects. This is typically in line with Banksy’s political activist nature or characteristic. The second street artwork of Banksy is LDN6 which appeared in May 2006. Iit appeared at the back of something that looked like a permanent street stall for selling bags and T-shirts on the Tottenham Court road, next to its junction with the Store Street. The art photo did not stay long at the stall. It was removed by the end of June with the permission from the stall owner, Sam Khan, a sixty year old man who had no idea about Banksy and his artwork (Bull, 2011: 311). In fact, the stall owner did not have any idea about the meaning or rather the interpretation of the artwork. The photo was then sold to someone at a reported price of 1000 Euros in cash. The stall owner got annoyed when he saw the same photo being sold at a minimum price of 230,000 Euros and much better prices in New York. From the picture, it can be seen that the painter had written, “What?” in purple color on a grey wall with other non formulated black drawings and writings. Interpreted, Branky’s main reason for the work is to show what the unclear dark drawings had not clearly revealed
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