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Re-imagining Human Rights by Cachetejack for Fine Acts. 

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Re-imagining Human Rights by Cachetejack for Fine Acts. 

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I used the "ArtStorie's Political Artist Page," and came across this artwork because this is so true especially nowadays because Human Rights are changing. Human Rights were first created hundred of years ago when we were first figuring out what it meant to live on planet Earth, and now times have changed which means we should reevaluate what it means for everyone to have basic human rights.
https://fineacts.co/reimagining-human-rights.

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I explored the 'Fine Acts' link and checked out  "12 Black Artists/ 24 Protest Posters" where I came upon this cool typeface design by Kevin Adams.  It's free to download and can be printed and used. The style is retro and clean. Black Lives matter is a social issue that's of great importance to me. Besides, I love a font with drop shadow! I've included the link to the image and a quote from the artist below.

https://thegreats.co/artworks/fight-the-power

Quote from Kevin Adams
“Much of my personal work finds inspiration in African American music. African American music has helped to uplift souls, express pain, and give social commentary. The impact of African American music and its importance to the Black experience, to the cultural heritage of all Americans cannot be escaped, regardless of race or origin. These words have personal significance to me and are timely in my message.” Kevin Adams

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I used the 'Fine Acts' link to explore the 'love speech sprint postcards' page. I came across Nikolovas work on hate speech and how impacting it can be to grow up in a world with people disrespecting you due to your identity. I have seen first hand how hate speech or discrimination can influence someones self esteem and the way they perceive their own life. Recently, hate speech has became a frontline topic of discussion when it comes to social issues. Everyday we fight to love others equally and without judgment. Someones words can shape the way that person lives their life, so at least make them good.
https://thegreats.co/artworks/words-shape-us

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Why So Narrow Minded by Rozalina Burknova

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Why So Narrow Minded by Rozalina Burknova

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This piece comes from the link Fine arts and it was under the category love speech.  This piece shows someone whose head is fairly more narrow than normal, showing that people can be narrow minded. I chose this piece in particular because there are a lot of people in the world who do only see things from their point of view even if it isn't the right point of view making them narrow minded. I feel that a lot of issues that come about are because one can not seem to see what the other side is opposing to them. That is why the piece is asking why so narrow minded because there is many people who let there way of thinking stop them and affect them from growing and being a better person in life.
https://thegreats.co/artworks/why-so-narrow-minded-series-12

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Bad Times Fade Away by Pastedko (Animation Cinema)

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Bad Times Fade Away by Pastedko (Animation Cinema)

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I chose this artwork from the fine acts link and went to "Spring of Hope" where I found "Bad Times Fade Away". I love this piece because its reassures people who are having a hard time that you don't have to worry, that the bad times will fade away and things will be better. During Covid a lot of people lost their jobs, homes, loved ones etc. including me and when I felt like the world was going to end I had my loved ones there to tell me it was all going to be ok, so, for those who don't have someone in their lives telling them everything will be ok this picture might be the one they need to see to make themselves feel better and get back on their feet, that is why I chose this artwork.

https://thegreats.co/artworks/bad-times-fade-away

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Why you chose this artwork and what it means.

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Why you chose this artwork and what it means.

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A reason why I chose this artwork is is because personally, I enjoy cartoon or animated forms of art to which they look very simple but detailed. This specific art piece uses dark colors, contrast and detail in the cartoon/drawing texture and I find it very interesting.This means Banksy's modo which was "take it to the streets". This art also means that riot and vandalism isn't always violent. It also represents the idea of graffiti and that its not always bad it could be expressive or carry a message as well, not always that its violation of property or walls on the streets.

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"Some people might say it's all a big waste of time, no one cares about their opinion if their name isn't written in huge letters on the bridge in town."

"I was 16 years old when I first trespassed onto some railway tracks and wrote the initials of the graffiti crew (of which I was the only member) on a wall. Afterwards the most incredible thing happened - absolutely nothing. No dogs chased me, no thunderbolt from God shot down to punish me, and my mum didn't even notice I'd been gone. That was the night I realized you could get away with it. That was also the night I discovered that beyond the "No Entry" sign everything happens in higher definition. Adrenaline sharpens your eyesight, each little sound becomes significant, your sense of smell seems more acute, and tramps shit everywhere."

Summary of Street and Graffiti Art

The common idiom "to take to the streets" has been used for years to reflect a diplomatic arena for people to protest, riot, or rebel. Early graffiti writers of the 1960s and 70s co-opted this philosophy as they began to tag their names across the urban landscapes of New York City, Los Angeles, and Philadelphia. As graffiti bloomed outward across the U.S., Street Art evolved to encompass any visual art created in public locations, specifically unsanctioned artwork.

The underlying impetus behind Street Art grew out of the belief that art should function in opposition to, and sometimes even outside of, the hegemonic system of laws, property, and ownership; be accessible, rather than hidden away inside galleries, museums, and private collections; and be democratic and empowering, in that all people (regardless of race, age, gender, economic status, etc.) should be able to create art and have it be seen by others. Although some street artists do create installations or sculpture, they are more widely known for the use of unconventional art mediums such as spray paint, stencils, wheat paste posters, and stickers. Street Art has also been called independent public art, post-graffiti, and guerilla art.

Key Ideas & Accomplishments

A central aspect of Street Art is its ephemerality. Any unsanctioned public work runs the risk of being removed or painted over by authorities or by other artists. No one can own it or buy it. Viewers are seeing a one-of-a-kind work that is likely not to last. This temporariness creates an immediacy and electricity around the work.

Street Art can often be viewed as a tool for promoting an artist's personal agenda surrounding contemporary social concerns, with city facades acting in the same role as the old fashioned soapbox; a place to extol the artist's opinion on a myriad issues ranging from politics and environmentalism to consumerism and consumption.

Many street artists use the public canvas of buildings, bridges, lampposts, underpasses, ditches, sidewalks, walls, and benches to assure their individual messages are seen by a wide swath of the population, unfiltered by target demographics or being accessible only to art world denizens.

As advertising infiltrates, the communal consciousness on a constant daily basis, Street Art has oftentimes been coined a counter attack. Popular street artist Banksy has said, "To some people breaking into property and painting it might seem a little inconsiderate, but in reality the 30 square centimeters of your brain are trespassed upon every day by teams of marketing experts. Graffiti is a perfectly proportionate response to being sold unattainable goals by a society obsessed with status and infamy. Graffiti is the sight of an unregulated free market getting the kind of art it deserves."

Overview of Street and Graffiti Art

Street Art is supposed to be the ultimate in democratized art; seen by everyone, owned by no-one. But this hasn't stopped a Banksy becoming the movement's ultimate collectible; with celebrities including Justin Bieber, Serena Williams and Angelina Jolie, having acquired the elusive artist's work.

Artworks and Artists of Street and Graffiti Art

Untitled (New York Subway Graffiti)

Artist: TRAP, DEZ and DAZE

The text in this "piece" (the common term for a work of graffiti art) reads "TRAP DEZ DAZE" (the tags/pseudonyms of the artists), although the style and placement of the letters may make it difficult to discern for viewers not familiar with this style of lettering. The text uses several bright colors, and employs outlining and shading to give the impression of three-dimensionality. This piece, like much New York graffiti of the 1980s, was completed on the side of a subway train. This choice of location would have garnered greater prestige for the artists, as writing on subway cars put them at very high risk of apprehension by the authorities, and thus considered more daring. Writing on subway cars was also a sure way to rapidly increase one's fame, as the artwork would then travel around the city's subway system, being seen by a far greater number of people than would a stationary piece on a wall.

This piece is a typical example of "wildstyle" graffiti, which includes complex, interlocking or overlapping letters, and sometimes cartoon-like characters and other images, all painted in bright colors. Photojournalist Martha Cooper noted in 1982 that "inaccessibility reinforces that sense of having a secret society inaccessible to outsiders [...] a writer will therefore often make a piece deliberately hard to read." As well, graffiti writers frequently attempt to create a sense of depth and three-dimensionality in wildstyle works. These types of pieces garner higher levels of respect for writers as opposed to "throwups" (simpler pieces using maximum two or three colors to create two-dimensional bubble text) or "tags", because wildstyle work involves more artistic prowess and takes longer to complete, thus putting the writer at a higher risk for run-ins with police.

Spray paint - New York City

Tuttomondo

Artist: Keith Haring

This mural in the historic city of Pisa in Tuscany is filled with graffiti artist Keith Haring's signature motifs including his generic "radiant" figures and many other illuminated forms. It is universally recognized as the artist's unmistakable cartoonish Pop style. The work is a good example of the way some renegade street artists were able to move from their unsanctioned urban canvases into a credible art forum. Haring's notoriety in the public consciousness catapulted him to the type of fame that motivated a city to commission his unique style for their own public building.

Haring first gained attention with his subway art that was created using white chalk on black, unused advertisement backboards in the underground stations that were his preferred painting "laboratory." The radiant baby became his most popular symbol, first used as his identifying tag before taking a life of its own as his preferred character. His bold lines, vivid colors, and active figures carried strong messages of life and unity. He often used lines of energy to emphasize kinetic movement, vitality, and euphoric spirit.

By 1982, Haring had established friendships with fellow emerging street artists Futura 2000, Kenny Scharf, and Jean-Michel Basquiat. He also became close friends with Andy Warhol. His work grew more politically active during the era of AIDS and his popular "Silence Equals Death" imagery became a key branding visual for New York's HIV activist group ACT UP. He created more than 50 public works between 1982 and 1989 in dozens of cities around the world.

In April 1986, Pop Shop was opened in Soho and made Haring's work readily accessible to purchase at reasonable prices. When asked about the commercialism of his work, Haring said: "I could earn more money if I just painted a few things and jacked up the price. My shop is an extension of what I was doing in the subway stations, breaking down the barriers between high and low art."

Mural - Pisa, Italy

Obey Giant

Artist: Shepard Fairey

In 1998, American street artist Shepard Fairey, who spawned from the Southern California skateboarding culture, created a graphic sticker campaign inspired by wrestling icon Andre the Giant while attending the Rhode Island School of Design. The stickers, written with the words Obey Giant, popped up all over the urban landscapes where Fairey lived and traveled, becoming the artist's visual, public experiment with phenomenology. Inspired by German philosopher Martin Heidegger's description of phenomenology as "the process of letting things manifest themselves," Fairey was attempting to enable people to see clearly something that is right before their eyes, but obscured; things so taken for granted that they become muted by abstract observation. Thus, the famous wrestler's face became a familiar motif on the streets, its repetition causing notice while remaining meaningless, until it eventually became just another familiar piece of the urban landscape, unquestioned or analyzed.

Fairey became widely known during the 2008 presidential election for his Barack Obama HOPE poster. He is one of the most influential street artists who have crossed into the gallery zone as he is included in collections at The Smithsonian, the Los Angeles Country Museum of Art and the Museum of Modern Art in New York City among others.

Hip Hop Rat

Artist: Banksy

This graffiti piece features a black and white stenciled rat. Banksy often uses the image of the rat as a personalized symbol representing himself, as he, like his graffiti artist predecessor Blek le Rat, felt an affinity with this city-dwelling creature that is active at night in order to evade apprehension and eradication. He says, "If you feel dirty, insignificant or unloved, then rats are a good role model. They exist without permission, they have no respect for the hierarchy of society, and they have sex 50 times a day."

Since the 1990s, Banksy has rapidly risen to international fame, arguably becoming one of, if not the most well-known contemporary street artists, despite maintaining anonymity by keeping his true identity a secret. His works have sold at auction for hundreds of thousands, even millions of dollars. Much of his work (especially in his earlier days) used stencils, allowing him to execute pieces in a matter of seconds and remain undetected by authorities. Since the early 2000s, he has also executed other types of unsanctioned interventions, including sculptures and performative actions. Most of his work aims to offer political and social criticism. Soldiers and police officers, as well as popular cultural icons (like Ronald McDonald and Mickey Mouse) recur in many of his pieces. He marked the end of the 2009 United Nations Climate Change Conference by painting four murals on global warming. One included the phrase, "I don't believe in global warming" submerged in water. In 2005 he traveled to the Israel-Palestine West Bank barrier wall and executed nine murals on the wall (including a dove with a bulletproof vest and a heart-shaped target over its chest, a child beneath a ladder stretching to the top of the wall, and the silhouette of a young girl being lifted upwards by a bunch of balloons).

Banksy has also held various notable exhibitions, such as his 2006 Barely Legal show in a Los Angeles warehouse, which featured a live Indian elephant painted with the same red and gold floral pattern as the wallpaper that was pasted up in the section of the warehouse where the elephant was displayed. This created controversy, as animal rights activists protested the elephant's involvement. However, the show was immensely popular, with several A-list Hollywood celebrities in attendance. Another one of Banksy's exhibitions, Banksy vs. Bristol Museum (2009) featured Banksy's own take on famous historical paintings, as well as animatronics, sculptures, and installations.

Spray paint

Untitled (Guantanamo Prisoner at Disneyland)

Artist: Banksy

In September of 2006, Banksy snuck a life-size inflatable doll dressed as a Guantanamo Bay prisoner into the Disneyland theme park in California, and installed it within the confines of the Big Thunder Mountain Railroad ride. The work remained in place for over an hour before park officials noticed it, shut down the ride, and removed the doll. A spokeswoman for Banksy said the work was intended to highlight the situation in which terror suspects find themselves in at the controversial detention center in Cuba. The artist hoped that by confronting carefree park-goers with what appeared to be an actual Guantanamo Bay prisoner in "the happiest place on earth," he might shock them into thinking more seriously about the implications of the war on terror. This work serves as a prime example of how sculptural works by street artists are particularly useful in orchestrating jarring experiences that reflect the political or social climate.

Banksy has carried out a number of other such performative illegal interventions. In 2004, he produced 100,000 fake British £10 notes, replacing the picture of the Queen's head with that of Diana, Princess of Wales and changing the text "Bank of England" to "Banksy of England." He tossed these into a crowd at the Notting Hill Carnival that same year, which some people then attempted to spend in local shops. In March 2005, he surreptitiously hung various modified artworks of his own (such as a Warhol-esque painting of a discount soup can) in New York City's Museum of Modern Art, Metropolitan Museum of Art, American Museum of Natural History in Manhattan, and Brooklyn Museum. In August/September of 2006, he placed approximately 500 fake copies of Paris Hilton's debut CD, Paris, in 48 record stores around the UK, modified with his own cover art (photoshopped to show Hilton topless). Other pictures in the album insert featured Paris with her chihuahua Tinkerbell's head replacing her own, and one of her stepping out of a luxury car, edited to include a group of homeless people, with the caption "90% of success is just showing up." Music tracks were given titles such as "Why Am I Famous?" "What Have I Done?" and "What Am I For?" The public purchased several copies of the CD before stores were able to remove them. The purchased copies went on to be sold for much more on online auction websites.

Inflatable doll, orange jumpsuit, black hood, and handcuffs - Disneyland, California

Beginnings of Street and Graffiti Art

Precursors to Contemporary Graffiti and Street Art

Graffiti, defined simply as writing, drawing, or painting on walls or surfaces of a structure, dates back to prehistoric and ancient times, as evidenced by the Lascaux cave paintings in France and other historic findings across the world. Scholars believe that the images of hunting scenes found at these sites were either meant to commemorate past hunting victories, or were used as part of rituals intended to increase hunters' success.

During World War II, it became popular for soldiers to write the phrase "Kilroy was here," along with a simple sketch of a bald figure with a large nose peeking over a ledge, on surfaces along their route. The motivation behind this simple early graffiti was to create a motif of connection for these soldiers during their difficult times, cementing their unique brotherhood amongst foreign land and to make themselves "seen." This was closely aligned with the motivation behind contemporary graffiti, with the writers aiming to assert their existence and to repeat their mark in as many places as possible.

Beginnings of Contemporary Graffiti in the United States

Contemporary (or "hip-hop") graffiti dates to the late 1960s, generally said to have arisen from the Black and Latino neighborhoods of New York City alongside hip-hop music and street subcultures, and catalyzed by the invention of the aerosol spray can. Early graffiti artists were commonly called "writers" or "taggers" (individuals who write simple "tags," or their stylized signatures, with the goal of tagging as many locations as possible.) Indeed, the fundamental underlying principle of graffiti practice was the intention to "get up," to have one's work seen by as many people as possible, in as many places as possible.

The exact geographical location of the first "tagger" is difficult to pinpoint. Some sources identify New York (specifically taggers Julio 204 and Taki 183 of the Washington Heights area), and others identify Philadelphia (with tagger Corn Bread) as the point of origin. Yet, it goes more or less undisputed that New York "is where graffiti culture blossomed, matured, and most clearly distinguished itself from all prior forms of graffiti," as Eric Felisbret, former graffiti artist and lecturer, explains.

Soon after graffiti began appearing on city surfaces, subway cars and trains became major targets for New York City's early graffiti writers and taggers, as these vehicles traveled great distances, allowing the writer's name to be seen by a wider audience. The subway rapidly became the most popular place to write, with many graffiti artists looking down upon those who wrote on walls. Sociologist Richard Lachmann notes how the added element of movement made graffiti a uniquely dynamic art form. He writes, "Much of the best graffiti was meant to be appreciated in motion, as it passed through dark and dingy stations or on elevated tracks. Photos and graffiti canvases cannot convey the energy and aura of giant artwork in motion."

Graffiti on subway cars began as crude, simple tags, but as tagging became increasingly popular, writers had to find new ways to make their names stand out. Over the next few years, new calligraphic styles were developed and tags turned into large, colorful, elaborate pieces, aided by the realization that different spray can nozzles (also referred to as "caps") from other household aerosol products (like oven cleaner) could be used on spray paint cans to create varying effects and line widths. It did not take long for the crude tags to grow in size, and to develop into artistic, colorful pieces that took up the length of entire subway cars.

New York City's Graffiti "Problem"

By the 1980s, the city of New York viewed graffiti's inherent vandalism as a major concern, and a massive amount of resources were poured into the graffiti "problem." As Art Historian Martha Cooper writes, "For [New York City mayor Ed] Koch, graffiti was evidence of a lack of authoritarian order; as such, the presence of graffiti had a psychological effect that made all citizens its victim through a disruption of the visual order, thus promoting a feeling of confusion and fear among people." The New York Police cracked down on writers, often following suspect youth as they left school, searching them for graffiti-related paraphernalia, staking out their houses, or gathering information from informants. The Metropolitan Transit Authority (MTA) received a significant increase in their budget in 1982, allowing them to erect more sophisticated fences and to better maintain the train yards and lay-ups that were popular targets for writers (due to the possibility for hitting several cars at once). However, writers saw these measures as a mere challenge, and worked even harder to hit their targets, while also becoming increasingly territorial and aggressive toward other writers and "crews" (groups of writers).

In 1984, the MTA launched its Clean Car Program, which involved a five-year plan to completely eliminate graffiti on subway cars, operating on the principle that a graffiti-covered subway car could not be put into service until all the graffiti on it had been cleaned off. This program was implemented one subway line at a time, gradually pushing writers outward, and by 1986 many of the city's lines were completely clear of graffiti. Lieutenant Steve Mona recalls one day when the ACC crew hit 130 cars in a yard at Coney Island, assuming that the MTA wouldn't shut down service and that the graffitied trains would run. Yet the MTA opted to not provide service, greatly inconveniencing citizens who had to wait over an hour for a train that morning. That was the day that the MTA's dedication to the eradication of graffiti became apparent.

However graffiti was anything but eradicated. In the past few decades, this practice has spread around the world, often maintaining elements of the American wildstyle, like interlocking letterforms and bold colors, yet also adopting local flare, such as manga-inspired Street Art in Japan.

From Graffiti to Street Art: Greater Variation in Styles, Techniques, and Materials

It is important to note that contemporary graffiti has developed completely apart from traditional, institutionalized art forms. Art critic and curator Johannes Stahl writes that, "We have long since got accustomed to understanding art history as a succession of epochs [...] But at the same time there has always existed something outside of official art history, a unruly and recalcitrant art, which takes place not in the sheltered environs of churches, collections or galleries, but out on the street." Graffiti artists today draw inspiration from Art History at times, but it cannot be said that graffiti grew directly out of any such canon or typology. Modern graffiti did not begin as an art form at all, but rather, as a form of text-based urban communication that developed its own networks. As Lachmann notes, rather than submitting to the criteria of valuation upheld by the institutionalized art world, early graffiti writers developed an entirely new and separate art world, based on their own "qualitative conception of style" and the particular "aesthetic standards" developed within the community for judging writers' content and technique.

During the late 1970s and early 1980s, many graffiti writers began to shift away from text-based works to include imagery. Key artists involved in this shift included Jean-Michel Basquiat (who wrote graffiti using the tag SAMO) and Keith Haring, whose simple illuminated figures gave testament to the AIDS epidemic, both of whom were active in New York City. Around the same time, many artists also began experimenting with different techniques and materials, the most popular being stencils and wheat paste posters.

Concepts and Styles

Since the turn of the millennium, this proliferation has continued, with artists using all sorts of materials to complete illegal works in pubic spaces. The myriad approaches have come to be housed under the label of "Street Art" (sometimes also referred to as "Urban Art"), which has expanded its purview beyond graffiti to include these other techniques and styles.

Graffiti

The term "graffiti" comes from the Greek "graphein," meaning "to scratch, draw, or write," and thus a broad definition of the term includes all forms of inscriptions on walls. More specifically, however, the modern, or "hip-hop" graffiti, that has pervaded city spaces since the 1960s and 1970s involves the use of spray paint or paint markers. It is associated with a particular aesthetic, most often utilizing bold color choices, involving highly stylized and abstract lettering known as "wildstyle," and/or including cartoon-like characters.

Photographer and author Nicolas Ganz notes that graffiti and Street Art practices are characterized by differing "sociological elements," writing that graffiti writers continue to be "governed by the desire to spread one's tag and achieve fame" through both quality and quantity of pieces created, while street artists are governed by "fewer rules and [embrace] a much broader range of styles and techniques." Anthropologist and archaeologist Troy Lovata and art historian Elizabeth Olson write that "the rapid proliferation of this aggressive style of writing appearing on the walls of urban centres all over the world has become an international signifier of rebellion," and cultural theorist Jean Baudrillard has called it the "symbolic destruction of social relations."

Stencils

Stencils (also known as stencil graffiti) are usually prepared beforehand out of paper or cardboard and then brought to the site of the work's intended installation, attached to the wall with tape, and then spray painted over, resulting in the image or text being left behind once the stencil is removed. Many street artists favor the use of stencils as opposed to freehand graffiti because they allow for an image or text to be installed very easily in a matter of seconds, minimizing the chance of run-ins with the authorities. Stencils are also preferable as they are infinitely re-useable and repeatable. Sometimes artists use multiple layers of stencils on the same image to add colors, details, and the illusion of depth. Brighton-based artist Hutch explains that he prefers to stencil because "it can produce a very clean and graphic style, which is what I like when creating realistic human figures. Also, the effect on the viewer is instant, you don't need to wait for it to sink in."

One of the earliest known street artists to use stencils was John Fekner, who started using the technique in 1968 to stencil purely textual messages onto walls. Other well-known stencil artists include French artists Ernest Pignon-Ernest and Blek le Rat, British artists Nick Walker and Banksy, and American artists Shepard Fairey and Above.

Wheat Paste Posters

Wheat paste (also known as flour paste) is a gel or liquid adhesive made from combining wheat flour or starch with water. Many street artists use wheat paste to adhere paper posters to walls. Much like stencils, wheat paste posters are preferable for street artists as it allows them to do most of the preparation at home or in the studio, with only a few moments needed at the site of installation, pasting the poster to the desired surface. This is crucial for artists installing works in unsanctioned locations, as it lowers the risk of apprehension and arrest. Some street artists who use the wheat paste method include Italian duo Sten and Lex, French artists JR and Ludo, and American artist Swoon.

Sculptural Street Art Interventions

Some street artists create three-dimensional sculptural interventions, which can be installed surreptitiously in public spaces, usually under the cover of darkness. This type of work differs from Public Art in that it is rebellious in nature and completed illegally, while Public Art is officially sanctioned/commissioned (and thus more palatable to a general audience). Unsanctioned Street Art interventions usually aim to shock viewers by presenting a visually realistic, yet simultaneously unbelievable situation. For instance, in his Third Man Series (2006), artist Dan Witz installs gloves on sewer grates to give the impression that a person is inside the sewer attempting to escape. Works like these often cause passers-by to do a "double-take."

Reverse Graffiti

Reverse graffiti (also known as clean tagging, dust tagging, grime writing, clean graffiti, green graffiti, or clean advertising) is a method by which artists create images on walls or other surfaces by removing dirt from a surface. According to British reverse graffiti artist Moose, "Once you do this, you make people confront whether or not they like people cleaning walls or if they really have a problem with personal expression." This sort of work calls attention to environmental concerns in urban spaces, such as pollution.

Other Media

There are street artists who experiment with other media, such as Invader (Paris), who adheres ceramic tiles to city surfaces, recreating images from the popular Space Invaders video game of 1978. Invader says that tile is "a perfect material because it is permanent. Even after years of being outside the colors don't fade."

Many other artists use simple stickers, which they post on surfaces around the city. Often, these stickers are printed with the artist's tag or a simple graphic. Others invite participation from the audience, like Ji Lee who pastes empty comic speech-bubbles onto advertisements, allowing passers-by to write in their own captions.

Others still use natural materials to beautify urban spaces. For instance, in 2005, Shannon Spanhake planted flowers in various potholes of the streets in Tijuana, Mexico. She says of the project, "Adorning the streets of Tijuana are potholes, open wounds that mark the failure of man's Promethean Project to tame nature, and somehow surviving in the margins are abandoned buildings, entropic monuments celebrating a hyperrealistic vision of a modernist utopia linked to capitalist expansion gone awry."

There are also artists who create Street Art interventions through the use of clay, chalk, charcoal, knitting, and projected photo/video. The possibilities for Street Art media are endless.

Later Developments - After Street and Graffiti Art

Mainstream Acceptance

Street Art continues to be a popular category of art all over the world, with many of its practitioners rising to fame and mainstream success (such as Bristol's Banksy, Paris' ZEVS, and L.A.'s Shepard Fairey). Street artists who experience commercial success are often criticized by their peers for "selling out" and becoming part of the system that they had formerly rebelled against by creating illegal public works. Communications professor Tracey Bowen sees the act of creating graffiti as both a "celebration of existence" and "a declaration of resistance." Similarly, Slovenian Feminist author Tea Hvala views graffiti as "the most accessible medium of resistance" for oppressed people to use against dominant culture due to its tactical (non-institutional, decentralized) qualities. For both Bowen and Hvala these unique positive attributes of graffiti are heavily reliant on its location in urban public spaces. Art critic and curator Johannes Stahl argues that the public context is crucial for Street Art to be political, because "it happens in places that are accessible to all [and] it employs a means of expression that is not controlled by the government." Street artist BOOKSIIII holds an opinion not uncommon of many of today's street artists, that it is not inherently wrong for young artists to try to make money from galleries and corporations for their works, "as long as they do their job honestly, sell work, and represent careers," yet at the same time he notes that "graffiti does not stay the same when transferred to the gallery from the street. A tag on canvas will never hold the same power as the exact same tag on the street."

This movement from the street to the gallery also indicates a growing acceptance of graffiti and Street Art within the mainstream art world and art history. Some apply the label "post-graffiti" to the work of street artists that also participate in the mainstream art world, although this is somewhat of a misnomer, as many such artists continue to execute illegal public interventions at the same time as they participate in sanctioned exhibitions in galleries and museums. This phenomenon also presents difficulties for art historians, as the sheer number of street artists, as well as their tendency to maintain anonymity, makes it hard to engage with individual artists in any sort of profound way. Moreover, it is difficult to insert Street Art into the art historical canon, as it did not develop from any progression of artistic movements, but rather began independently, with early graffiti and street artists developing their own unique techniques and aesthetic styles. Today, street artists both inspire and are inspired by many other artistic movements and styles, with many artists' works bearing elements of wide-ranging movements, from Pop Art to Renaissance Art.

Legality

Street Art's status as vandalism often eclipses its status as art. More recently, as mentioned above, many artists are finding more opportunities to create artworks in sanctioned situations, by showing in galleries and museums, or by partnering with organizations that offer outdoor public spaces in which street artists are permitted to execute works. However, many others continue to focus on unsanctioned illegal works. Part of the allure of working illegally has to do with the adrenaline rush that artists get from successfully executing a piece without being apprehended by the authorities. Moreover, carrying out illegal/unsanctioned attacks on privately owned surfaces (such as a billboard being rented out by an advertising agency, or a politically-charged surface such as border walls), serves as a direct confrontation with the owner of that space (be it a marketing firm, or a political entity).

Technology and the Internet

With the advent of the Internet and the development of various graphic software and technologies, street artists now have a multitude of tools at their fingertips to assist in the creation and dissemination of their works. Specialized computer programs allow artists (like San Francisco-born MOMO) to better plan for their graffiti pieces and prepare their stencils and wheat paste posters, while digital photography used in conjunction with the Internet and social media allows Street Art works to be documented, shared, and thus immortalized where previously, most pieces tended to disappear when they were removed by city authorities or painted over by other artists.

Useful Resources on Street and Graffiti Art

The books and articles below constitute a bibliography of the sources used in the writing of this page. These also suggest some accessible resources for further research, especially ones that can be found and purchased via the internet.

Similar Art

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Street and Graffiti Art Movement Overview

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"Some people might say it's all a big waste of time, no one cares about their opinion if their name isn't written in huge letters on the bridge in town." "I was 16 years old when I first trespassed onto some railway tracks and wrote the initials of the graffiti crew (of which I was the only member) on a wall.

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Banksy, 'Rage the Flower Thrower C. 2005 features a man dressed up in what is associated with or to riot and chaos, with a bandana obscuring his face and his cap-back-to-front. His stance is one of a person who is about to throw a Molotov cocktail but instead its not a weapon because he is holding flowers. This counters the negative notion and idea of vandalism and the damage it creates. Sometimes we could tend to think with this art that vandalism or graffiti on the streets as expressive art and not a violation of property or causing a disruption and therefore requires consequences and punishment since it would be 'illegal.

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The future of human rights must be hopeful.When we only show the abuses, people start to believe that we live in a world of crisis with no alternative. We believe that the image of human rights needs to be reimagined so we can bring more people on board.

Reimagining Human Rights is a project by Fine Acts, in partnership with hope-based comms, supported by Open Society Foundations. We are building the largest collection of free, evergreen, hopeful visual content around human rights, for activists and nonprofits around the world to use in their campaigns.

We commissioned a selection of amazing artists from around the world. We also opened a call for existing works to creatives everywhere. We received close to 1000 illustrations (THANK YOU) from the global creative community, and selected to feature over 100 (and counting). See all the powerful and uplifting illustrations below and enjoy new works every week until January 2021.

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Reimagining Human Rights - A Global Creative Challenge - Fine Acts

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The future of human rights must be hopeful.When we only show the abuses, people start to believe that we live in a world of crisis with no alternative. We believe that the image of human rights needs to be reimagined so we can bring more people on board.

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Project: Sex ed book for girls.
Artist's names: Svetla Baeva, Raya Raeva, Borislava Karadjova, and  Mihaela Karadjova.

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Describe why you chose the artwork and what it means to you.

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Describe why you chose the artwork and what it means to you.

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I found this piece of art under the link "Fine Acts." As I scrolled through all the different pieces this one stood out to me with the title alone that says and states millions. It really caught my eye next to the illustration as well with it being very bright, spontaneous, and positive. As I read on to see what this piece offered it came to be a project created by four women who are very passionate with their beliefs and what they hold. Understanding women in their most simple yet raw form is the importance that comes with their art and background that I feel needs to be heard and recognized to it's fullest extent as women are still put down in our society today no matter how much has changed. I really appreciate this project as these women fight against violence women endure, women's rights in Bulgaria, and lack of representation of women artists who don't get seen or heard. These are all very important factors as these are concerning and never ending issues that never seem to get fully fixed.
Link:  Home (EN) — Vagina Matters

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https://www.puffinculturalforum.org/unamerica/

"Cold as ICE" is one of the many artworks that are part of the UnAmerica project. The project aims to show an "unflinching look" at immigration in the U.S.. I chose this artwork because it is something my community was afraid of for years during former President Trump's presidency. Of course there was fear about many other things, but deportation and seperation of families was the main fear. I really like the way the artist represented emotions in both parties in this art piece. The usual smugness and arrogance that white ICE officers feel is depicted accurately, as well as the heartbroken-ness and fear portrayed in the woman and child being separated, not knowing when they will see each other again.

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I took a look at the Art stories Feminist art page and found this really interesting news paper post that says “ I shop therefor I am" by artist Barbara Kruger. This piece is  depicting a phrase placed over a photographic image from a newspaper or magazine. This piece is a reminder that most women product advertisements is made by men’s assumptions. It interrogates the belief that women only need material objects to be kept happy and under men’s control

https://www.theartstory.org/movement/feminist-art/

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This art work features Colin Kaepernick.  Looking at this piece  made me realize how anyone can be a voice to the voiceless. This is an ideal example of how one can stand up to power no matter what your profession is. Kaepernick used his platform to be a voice for those deprived of their natural rights. He simply protested and was expelled from the NFL for that same reason. Not everyone is expected to support his cause but his rights should have been upheld. This piece reminds me of the dire consequences of speaking to power!
The piece is called "Here I stand" by Imar Hutchins .

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This piece titled, "Make a Merkin Great Again," by Diane Bush, in her political satire merkin project, brings back to remembrance the highly intensive election we all witnessed just months ago. I chose this artwork because of its relevancy to our last election. Specifically, how our last election was one where we witnessed the wide spread use of misinformation, and tactics specifically used to sow confusion and doubt.

The former administration seemingly purposely continued to defy factual information, and continued operating in false narratives. Our last election was one History will remember I'm sure. This artwork is a reminder to me of one of the oddest presidency of my lifetime, and potentially the oddest history itself has seen.
The Election, 2020 | Puffin Cultural Forum

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I chose this artwork from the FineActs site. This artwork was part of a project in Europe to create a space for creating a space for emotional and compelling images that create a vision of a brighter future.  This was done in relation and as a result of the pandemic. The challenge was brought to 27 artist, each from a country who is a Eu member. It was also opened up anyone else who wanted to submit artwork. This artwork is not from one of the commissioned artists. This piece of artwork was done by Eva Milner who is an illustrator and graphic designer from Slovenia.
Alt this artwork was done as an expression of the pandemic it touches on a different issue which is very important to me, borders and immigration. This country was founded with an immigrant population.  The only people who have not immigrated are those of Native American descent and also some of Mexican descent. With are a nation that has so much that we are also the most wasteful nation in the world. People come here because whatever this country has to offer is better than where they came from. And yet there are so many people, including some members of my own family, who don’t want more people to come. Many of the people that come here have 2 or more families living together. This is not uncommon in other parts of the world. Families care for each other and they share what they have. Many of the people who come have college degrees but work at lower income jobs here. They make enough to support themselves and their family here and still send money “back home”. I have heard people say here that they are afraid that we won’t have enough. Most people in the United States have more than enough. But we have become greedy and constantly want more. Clothes that we get rid of because we are tired of them often are sent to other countries because they are still just fine and can be used. We have become a disposable society.
Back to the artwork...I love that it shows people of different colors coming together in celebration...music and dancing. I also love that the Title is: Solidarity does not require
sameness. The picture is specifically of women, which I appreciate. I am taking a Women in A,Eric an History class this semester which has also brought about a new awareness and appreciation of women’s s role in history. I have always believed that women have tremendous power in that we shape young minds and hearts. Sometimes that influence is overpowered by societal values. But it is women or their influence who find a way and build bridges of peace.
Www.fineacts.com

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Speak The Words You'd Like To Hear by Zdravolina

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Speak The Words You'd Like To Hear by Zdravolina

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As I was looking through the art under Fine Acts, I stumbled upon the Love Speech collection. This piece conveys its message very well with the megaphones. I believe that when people say hateful things, they don't understand the effects it has on other people. I think it's important to put yourself in other people's shoes to better understand where they're coming from.

https://thegreats.co/artworks/speak-the-words-youd-like-to-hear

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What Make America Great by Michael D'Antuono

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What Make America Great by Michael D'Antuono

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I saw this image in the Puffin Cultural Forum and I liked it because it shows that no matter what race, sexual orientation, or ethnicity we are, we are all united as one and this is a great example of it.
https://www.puffinculturalforum.org/unamerica/

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What Make America Great by Michael D'Antuono

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Judy Chicago,The Dinner Party, (1979) ,Brooklyn Museum

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Judy Chicago,The Dinner Party, (1979) ,Brooklyn Museum

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The work of Art that has stood out to me throughout has been the Feminist Art. This piece is one of my favorites. (The Dinner Party). It has historical background to female artists which to me is very classy and sets a title to important figures even if society hasn’t. To that I hold a deep connection to because even now in my generation, I have felt the inequality. This Art piece makes me proud.

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Image Link: https://2.bp.blogspot.com/-duIztvh7_Zs/WLHH8PJlRkI/AAAAAAABo3c/2a7YcpU9jowTwm16nl7FZKP4DpehqVbCACLcB/s640/pas-de-deux-1986.jpg

Parent link: http://milenaolesinska.blogspot.com/2017/02/miriam-schapiro.html

Miriam Schapiro was born in 1923 and was an active artist from the early 1960s until her death in 2015.  She created the artwork shown here with paint and fabric on canvas.  In fact, she was a leader in the Pattern and Decoration art movement.  Schapiro called these artworks "femmages."  This femmage, “Pas de Deux” (“Not Two”) was completed in 1986 and is one of a series of works honoring women artists.  I chose this piece because I enjoy the vibrant colors, visual (and probably tactile) texture, emphasis on the 2 characters, good horizontal balance, and a strong sense of movement from the female figure to the male figure.  Contrast is weak but is good enough to distinguish the figures in the picture.  I actually enjoy the affect of poor contrast – this makes the whole picture bright and lively.  This image reminds me of the “good old days” of musicals with famous dance couples in Hollywood such as Fred Astaire and Ginger Rogers, and Gene Kelly and Cid Charisse.  From Schapiro’s point of view, it helped bring women artists to the attention of the general public.  I feel Schapiro wanted to lift all female artists, no matter what type of art they specialized in.  It is difficult changing some cultural norms, but with the right type of education and exposure, I hope we will see more women artists becoming household names.

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The First thing I noticed was the light reaching  out towards me, so that’s why I picked this art image. A lighthouse is supposed to catch ships' attention to guide them from possible dangers so this art image is a reflection of it but for us, the viewers, attention. When you actually look at the image it says “To Hope Is To Embrace Uncertainty” and the light house is emitting light in the form of open arms in the dark. This says to me that I should embrace hope even though there is uncertainty with minor guidance and major challenges.

https://thegreats.co/artworks/to-hope is where I have found the image and the artist is Teo Georgiev. The title of his work is “To Hope”. There wasn't much to go off regarding this piece but on his link it has some personal information but none of this image .

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https://www.theartstory.org/artist/banksy/artworks/#pnt_3

This piece was based on a famous photograph from the Vietnam War. The original photograph was taken by Associated Press photographer Nick Ut in 1972. The girl in the original photograph, Kim Phuc, was fleeing a napalm attack on her village which was committed by US forces. The artist Banksy chose to include the image of Mickey Mouse and Ronald McDonald when he created this piece. I see Ronald McDonald and Mickey Mouse to be the ultimate symbol of American capitalism, which I believe is why Banksy chose to use them. It is a sick and twisted piece of art that I believe has a powerful message. I am a fan of a lot of Banksy's work, he does a lot of political artwork.

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(Untitled) I Shop Therefore I am by Barbara Kruger

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(Untitled) I Shop Therefore I am by Barbara Kruger

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Link:https://www.theartstory.org/movement/feminist-art/artworks/ or https://www.theartstory.org/images20/works/feminist_art_9.jpg

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Truthroots; Donald Trump by Steffany Ojeda

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Truthroots; Donald Trump by Steffany Ojeda

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I was scrolling through the websites looking for a painting to use for my Padlet, then I came across this art piece from Steffany Pjeda that caught my attention. This art has meaning to me, and that is replacing the head of Donald Trump with a bouquet of flowers means that the American Dream has ended because of Donald Trump as a result of his foreign policy, and remembering that dream with a bouquet of flowers, similar to what you would find at a grave stone.
https://www.puffinculturalforum.org/unamerica/

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1964: Martin L. King press conference. Location unidentified. 

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1964: Martin L. King press conference. Location unidentified. 

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https://postcardsfromforever.org/the-postcards

Marion S. Trikosko/Library of Congress

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I chose this artwork because it shows a powerful picture of Dr. Martin Luther King Jr. speaking in press conference. I believe and feel that any word that came out of Dr. King Jr. was historical. He was a historical man who had big words that changed the world with the "I had a dream..." speech. In the image he seems to be brave, confident, and a leader trying to rally people together for a certain cause. Even though we don't know what the press conference was about, he seems as if he's speaking to a large crowd. This image is also stored in the Library of Congress which shows how important this image is. This image could've been stored anywhere, but it is stored in a place where one of the highest ranking politicians work and where history is always being made.

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I explored and scrolled through the progression of feminism in the art story.org and ended up choosing a photograph by Barbara Kruger. The style of the artwork is pretty minimalistic—black and white photograph with red border and red textbox located in the middle with a white futura font saying "I think therefore I am". I chose the artwork because I consider myself a feminist, an intersectional feminist to be exact and this specific artwork by Barbara Kruger tackles feminist ideal that is against the objectification of women in advertisements and how men are the ones dictating what women want in most of the medias plus I really like how straightforward yet aesthetically pleasing the slogan is. In a hyper-consumerist society, we are becoming defined by the material things that we own.

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I chose this artwork because it is an art drawing of Colin Kaepernick. Colin Kaepernick was released from the NFL due to his violation of the rules in the NFL. He was standing up and using his fame from the NFL to show the injustice of police brutality so he kneeled to the national anthem.

Artist: Imar Hutchins
Title: Here I Stand
https://www.puffinculturalforum.org/conversations-2020/

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"Barbara Kruger expresses her concerns with this art that the society has glided too far away from the fundamentals; it somehow has transformed into a plastic society. According to her, modern society is filled with people whose focus is on “what they have rather than who they are.” Society feels as though their material possessions and social image define who they are instead of more in-depth personal attributes like accomplishments and ideas. She uses her art to highlight the shallowness of the modern consumer-driven society by juxtaposing contrasting statements." -https://publicdelivery.org/barbara-kruger-i-shop/

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Im chosing to do mine on the womens rights movements, found on the webpage Https://Vaginamatters.org, which is a webpage that is designed to use art to help bring equality to women and create sexual education for females. I feel like as a man we should support our fellow humans achieve the same equality as men. The creators are Svetla Baeva and Raya Raeva,

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"The Place of a Woman" by Linoca Souza is apart of the Reimagineing human rights collection in the Fine Acts gallery. This piece of art stood out to me because of its simple yet powerful message. The statement is saying something that should be common sense yet many societies across the world expect women to fufil certain roles. This art work is liberating and powerful. As a female, I feel responsible to support other women in anyway I can no matter their culture or background. This piece is special because it applies to every women's life.
Here is the link: https://thegreats.co/artworks/the-place-of-a-woman

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As someone who studying to one day work for Child Protective Serivices, Naturally one of the most important social issues to me is child abuse. There are an sadening number of children that are being physically, mentally and especiially sexually abused everyday around the globe. We usually put it out of our mind thinking it doesnt happen where we live but one in every four girls and one in every six boys  are sexually abused everyday in the US. being sexaully abused as a child completely effects a persons development and adult life, this is something that follows them forever. It is not only strangers or the weird neighbors that do this, 93% of the time it is a family member or close family friends. This only effects the way this child will grow to not trust the people who were supposed to care for them.

This piece was very touching because it not only shows the confused and scared child, it tells the story of his abuse. By putting the joy stick controller on the childs genital area this peice is showing that someone is using a game as the explanation for the abuse, someone is playing with this scared child. This artwork can also be seen as the most advanced form of sexual abuse, techonoly. In the past few years, as technology advances, child pornography has skyrocketed because it can not be traced in many instances. The boys fear in his eyes tells his story alone, the confusion of why someone would do this to him, it's incredible.

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Artist: Daria solar

oil on canvas 80x50 cm,

Original Created:2017

Subjects: Children

Styles: Realism Surrealism Fine Art

Mediums: Oil

Materials: Canvas

Print: Giclee on Fine Art Paper

Size: 8 W x 12 H x 0.1 D in

Frame: White

https://www.saatchiart.com/print/Painting-VIRTUAL-BOY/296092/4196501/view

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This was a pretty easy choice for me as I have talked about Banksy before as I overall really adore his works. The artwork that I chose, Love is in the Bin, also known as Balloon Girl before it was shredded, was a major controversy because of its apparent destruction which ended up increasing the value of the painting. I think it shows really well how, as Banksy said, destruction is also a form of creation.

https://www.theartstory.org/artist/banksy/artworks/#pnt_10

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Art Stories Feminist Art and Page
I chose this work of art by the artist because it has a great design and a good massage. This written word has a very good meaning that we do not need a hero in our life, because we are our hero. If we want to succeed, we do not have to wait for someone else to help us.

https://www.theartstory.org/movement/feminist-art/history-and-concepts/
https://www.theartstory.org/artist/kruger-barbara/

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Artist: Barbara Kruger
Title: Untitled
She has photographed a project that depicts a child and a woman and has written a short, and meaningful poem on the image.

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2. I chose this artwork because it aligns with my beleifs and asprirations. I am a goal setter which means I plan what I am going to do and do my best to do it. I love this fortune becuase when it comes to something very important in my life that I have planned, It is good to see reassurance like this. 

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2. I chose this artwork because it aligns with my beleifs and asprirations. I am a goal setter which means I plan what I am going to do and do my best to do it. I love this fortune becuase when it comes to something very important in my life that I have planned, It is good to see reassurance like this. 

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3. https://fineacts.co/candy
4. The Artist of this piece is Jorge Manes Rubio. The Title of this Piece is called Candy.

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by Alice Eggert & Safwat Saleem
"The Future" is a piece of art work that is ongoing in collaboration with Fine Acts representing global issues that are translated into sculptures. This is one of 3 pieces which represents Peace. Since,  today there are just a few countries  that can be considered free of conflict, these sculptures are illuminated in hopes of bringing more peace and equality around the globe. I chose this because I hope that one day my children & grandchildren will live in a country where they can find peace and equality.
https://fineacts.co/the-future

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The artwork that I chose is a drawing created by an artist named Linoca Souza. My reasons for choosing it above all other options is quite simple, it gives women the confidence that they need to live in the world that we live in today freely. Everyone has their own idea of what career a woman should pursue. For example, some people believe that women should be teachers, nurses, and other professions that don't involve a lot of heavy lifting. And others, including the artist of this drawing, believe that women should do as they please with the life that they were given. This drawing could be associated with any situation that a woman might be in, but the overall message is that the decision is theirs to make. This image relates to me personally because I feel that my families expectations of me are set at a high standard. In their eyes, women go to college and pursue a career, whereas men take risks and go wherever life takes them. Unfortunately, sexism is still an issue today, and I fear that my family plays a role in it.

https://thegreats.co/artworks/the-place-of-a-woman

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The Greats is a free platform for awesome socially engaged visual content, open to anyone to use or adapt non-commercially.

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Carolee Schneemann, Fresh Blood – A Dream Morphology, 1981-86, gelatin silver print, 8 by 10 inches

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Carolee Schneemann, Fresh Blood – A Dream Morphology, 1981-86, gelatin silver print, 8 by 10 inches

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I chose this artwork because I am a huge advocate when it comes to showing the human body and doing so in order to break societal standards and sexualization. There is a very skewed perception on what body image is and the general expectations of people both men and women. This toxic standard has caused many problems within people and causes insecurities in sexuality, gender and being comfortable in one's skin. Many of these problems are especially prevalent within communities of women and redefining femininity and masculinity.

https://www.artnews.com/art-in-america/features/carolee-schneemann-57333/

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For this project I chose Favianna Rodriguez’s social justice poster from 2018 titled, “Migration is Beautiful”.   I chose this image because immigration is an important issue in the United States and all over the world. I was initially attracted to the image because of the bright colors, but the message kept my attention. My parent’s immigrated to the United States fifty-five years ago and that changed the trajectory of my life because my father was luck enough to obtain a visa and sponsorship to work at the Los Gatos Catholic Novitiate.  I have friends and family that have immigrated here legally and illegally.  It breaks my heart to see children in detention centers separated from their families.  Many families leave their countries of origin because of dire necessity.  Corruption, gang activities, and poverty in some of these Latin America countries causes families to risk everything for an opportunity.

I found this image on Favianna.com, the artist’s homepage. Here is the link:  https://favianna.com/artworks/migration-is-beautiful-2018

The artist is Favianna Rodriguez, and the title of the social justice poster is, “Migration is Beautiful”.  The artist launched the campaign in 20212 at the Democratic National Convention collaborating with UndocuBus, protesting President Obama’s deporting of 1100 immigrants per day. Favianna is a local artist based in Oakland, CA.  She is an interdisciplinary artist and social activist.   It is a poster with a yellow background with rays radiating from the center 24 x 18 inches in size.  The butterfly wings include the faces of two people with indigenous background with the traditional eagle nose feature in Aztec art. In the center is a large butterfly that represents the beauty of migration, since butterflies migrate year after year.  The description of the poster states that we belong to nature and nature has no borders.   A butterfly is symbol for the right of all living things to move freely.  This symbol has become popular for the global immigrant rights movement.

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Project: Conversations, 2020
Artist: Imar Hutchins
https://www.puffinculturalforum.org/conversations-2020/

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Artists take a look into many issues of discrimination from the health system all the way to gun violence and environmental racism. I chose this artwork because as well know in today's society these topics have been of the biggest discussions on every news channel everywhere and I remember when Colin Kaepernick first started kneeling for the national anthem with his fist in the air as a sign of protest for black americans getting killed by police in America. He really put his whole career and life on the line and I truly respect him for that and while he sustained harsh punishment and lost of his job he still continues to fight for rights and his presence and gestures from years ago are still being heard today with an even stronger voice and it didn't all start with just him protesting but he was the start of the new protest and showed the athletes of today that they can use their power and their platform to try and make change in our communities and in our country.

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This art piece by Banksy  represent two children playing with shovel and a bucket sorta like imaging like their building a sandcastle. above them is an piece of an illusion of a beach but the children's are black and white while the beach is in great color and detail. The art piece is on wall where it is to keep terrorist out an this to me signifies that the children are being held from exploring the other side of the wall and they image what the other side of the wall might look like. Banksy might be depicting on how the Israeli-Palestinian West Bank barrier wall to him signifies incrassation on how the wall being placed their separates the people from exploration to the outside world. This art piece may depict that sorta, but this is the way I see when I see this art piece.

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Once again, Banksy is depicting children's innocence and hope in his murals. Those boys are playing in the sand by the wall, while the drawing behind them show how beautiful life would be without walls.

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Once again, Banksy is depicting children's innocence and hope in his murals. Those boys are playing in the sand by the wall, while the drawing behind them show how beautiful life would be without walls.