Art in post- modernity - Essay Example

Download file to see previous pages... The practice is founded on urban “operational space,” as depicted in “practice of place” as illustrated by Certeau and not the abstract space of urban planning, geometry, or the virtual space of the screen. This is a space produced by a lived experience, characterized by individuals mapping their personal movements and every day relationships to seeming centers of power through the neighborhoods, the streets and transit networks of the city. Street art offers an instinctive break from the hastened “aesthetics of disappearance”. Hence, it is an indicator cut off in an exceedingly mass-arbitrated environment, which is dominated by a regime of screen visibility that always has absence of material objects. The placement of works requires a place, demarcating locations with awareness, which is against the increasing urban “non-places” of anonymous commerce and transit. Street artists use walls as mural space, which is their useful differentiator . In the early 1990s, the street arts had effectively used walls in Los Angeles and New York, which boasted of different graffiti styles. The Berlin Wall had miles of mural art and graffiti, which created visually striking images during the fall of wall in 1989. As a city mural art, street art spread across Europe and to South America, throughout the 1990s. There has been a gradual evolution from simple graffiti as slogan writing or name to a focused practice entailing many types of graphic and image techniques. These techniques involve hybrid genres and mixed methods., which are produced and executed both on and off the street. Figure 1 Pop, as anticipated by Dada and Duchamp, launched a new conceptual space, which introduced new arguments regarding on what art could be. Street art acquired these arguments; thus, becoming a transformative logic of Pop. Consequently, it became a redirected work of transubstantiation, which changed the unrefined and non-art-differentiated space of public streets into novel territories of visual engagement. This anti-art performative works eventually resulted in a new art category. Street art deaestheticizes “high art” as one of the various forms of source material; and on the other hand, aestheticizing sectors, which were formerly outside culturally acknowledged art space. The “extramural” sectors of non-art space and the judgment of the art container are currently turned inside out. The walls of the city reflect what was banned on the walls of art institutions, such as, ...Download file to see next pagesRead More