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Graffiti as a Monumental Form of Art

Table of Contents

Introduction
Graffiti and Counter Culture
Accessible Forms of Art
Defacing Monuments and Buildings
Conclusion
Works Cited

Introduction

For a long time, graffiti has been a complicated subject for discussion. It is often called street art, and appears all around the globe. Often framed as an act of damaging public property, it is at the same time an important cultural and artistic statement in and of itself. There are many forms and manifestations of graffiti, some more complex than others. For the purposes of this discussion, a more thorough look at graffiti and their cultural influence will be attempted. The main argument of this work is that graffiti are important as a method of public self expression, giving those that lack a voice an ability to express themselves. In addition, graffiti is also a form of counter culture, one that can be utilized against the establishment and its norms.

Graffiti and Counter Culture

Typically, graffiti consists of various words and tags, which often incorporate specific imagery or symbolism into them. However, it can also be purely image-based, depicting people, scenes, culturally-relevant pieces of media and anything in between. In addition, graffiti is the prime example of counter culture. In the case of graffiti, this comes with their illegal nature, as well as the primary way they are created (Shah). This term can be used to describe any artistic phenomena that goes against established norms, or seeks to challenge them. Graffiti often packs messages of challenging authority, or presents itself in the manner contrary to classical understanding of art (Keener). Historically, graffiti was often embraced by various other counter-culture movements, and incorporated into ideas of anti-government action and the art of the people.

Accessible Forms of Art

Bypassing the need to train, be professionally acknowledged or recognized to make ones art seen, graffiti can be created by anyone for everyone. It is a universal form of art with a very low barrier of entry, allowing it to become much more accessible to the public. Interestingly, graffiti has become a voice for marginalized communities, and especially for the people of color (Soergel). People that face trouble entering the real art world, being recognized, or even gaining the necessary resources to participate in the discussion turn to street art. Black and brown people have historically been deprived of opportunities and disenfranchised in all fields, including art. This is why in many cases, people of color are more intimately connected with the culture of graffiti.

Defacing Monuments and Buildings

It is possible to see graffiti as a public hazard, a simple act of vandalism and destruction. This is especially true in cases where important buildings, or monuments, are affected. In the recent years, the US saw many of its important statues being defaced with graffiti and paint act that many would call destructive in nature (The Associated Press). However, it is important to consider the context in which such actions are performed, as well as the goals of the public. In most cases, statues represent existing systems of oppression, used to subjugate and control the most vulnerable of people. The majority of statues that got defaced are those of oppressors, slave-traders and other extremely problematic individuals, making acts of vandalism a public statement. The public challenges the notion that bad people of history should be celebrated and remembered in society.

Conclusion

As a whole it can be said that graffiti is a monumental form of art, one that exists in all kinds of societies. Despite its relatively lowly status, graffiti is a useful tool to help marginalized communities express themselves, and challenge the establishment. The process of drawing on buildings, and creating art on the surface of existing art creates a message that cannot be made otherwise.

Works Cited

The Associated Press. Several Columbus Statues Defaced on Federal Holiday. The Detroit News, Web.

Keener, Katherine. A Lesson in Street Art: How a Movement Morphed out of Graffiti and into the Art World (Part II). Art Critique, Web.

Shah, Keya. Graffiti: The Complicated History Of Counterculture. Curiosity Shots, 2021, Web.

Soergel, Allison. The Writing on the Wall: Exploring the Cultural Value of Graffiti and Street Art. UC Santa Cruz News, Web.

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