The essay "Street art and political revolution" analyzes the role of street art in political revolution. Analyzing “Who Is The Man, and Why He Is Screaming?" shows how street art depicts dissatisfaction with the administration. …
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Freedom of expression speech is assumed as the only channel of expression, but art also plays a big role in it. Political revolutions tend to have beliefs and stand for a particular cause that the people concerned are willing to die for. Revolutionist should have a symbol or an art figure that represents this cause, which tends to motivate and keep them focused on the eventual cause of their struggle. Noam’s face which is used as a symbol by Iran activists represents anger and suffering which people find familiar. The result of the picture is Iranians in the dark of night shout slogans imitating Noam’s scream in darkness. The visual representation that these people look for is mainly found in the street from artists who feel aggravated by the prevalent conditions that affect them, which they transform into art. In many revolutions where people fight against their oppression, the Che Guevara portrait is common in many flags of the revolutionary organizations. This is a symbolic representation of Che Guevara’s struggles against oppression, which he succeeded in the end. Street art is not only used in showing the struggle, but also there are those that show a new day will come where action will be taken and the oppression will end (261). In a revolution, the people reclaim control of infrastructure, national resources, social amenities from the governing body. In Tunisia, street art was elemental in reclamation of public spaces where the oppressed were given an opportunity for them to express themselves.
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The author of the book begins his discourse with the planning or landscaping marked in the Colonial America. Afterwards, the discussion moves toward the revolutionary America, which shows a remarkable shift of planner type. Finally, the author ends his exploration in the 1920s in America, the time of the so-called the Great Depression.
The street art is not entirely an act of vandalism because it is different from the traditional graffiti because the latter relies strongly on the premise of hurting the cause of the society while street art aims to inculcate a sense of belief and hope within the people at large that all is not lost and there is still some ray of light left within their domains.
As a result, the forms of futuristic art had a promotion from paintings to filming movies. In general, Marinetti’s urge for aggression in expression, either by visual forms or by literature, was the basic outline of the promising changes in futurism. Categorically, the induction of futuristic love for speed in life style, mostly with the association of technological advancement in instrumentation of all walks of life, was the power-house for the futuristic movement.
In this system there would be no social classes or private property ownership. Many countries such as Russia have experienced this revolution but in a different manner than depicted by the Marxists. The Russian revolution of 1917 saw the removal of the autocratic tsar from power and a communist government established by Lenin and Trotsky although it later became bureaucratic in nature.
Street art is an art with more specificity on the visual art that is developed in public spaces such as streets, although the term always refers to unsanctioned art, as opposed to the government sponsored initiatives. Street art also includes traditional wheat-pasting, graffiti artwork, sculpture, sticker art, street installations, stencil graffiti, video projection, etc.
This essay discusses the connection between contemporary Chinese painting and Western art. The essay also discovers how are the Chinese artists, collectors, dealers and galleries responding to this phenomena. The entire social, cultural and geographical traits are exhibited in art with effect and exposes artistic riches of the country.
Mao Zedong put in place structures and regulation that ensured that the art and literature of China served the people, and not the other way around. The art and literature of China also borrowed from Russian realist styles, which were more in tune
The 1848 Revolution in Paris is so iconic since its processions instigated similar uprisings across Europe that later changed politics and governance of the entire region. Ideally, the primary precursor of the 1848 revolution was that the July Monarchy failed to cater for the needs of the lower class.
Waking up to a previously clean public wall now filled with various scribbles expressing a whole gamut of themes is usually considered vandalism. Michael DeNotto explained how this activity has come to be known as street art, viewed in different perspectives, depending on the style and content of the writings and graphics inscribed on the wall.
2 Pages(500 words)Essay
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