Author: Kim Risson
First published: 4 September 2012
This essay examines modern day street art and graffiti, while postulating on a paradigmatic shift in attitudes towards what constitutes “good’ and “bad” art. We analyse societal, economic, and political factors that influence the creation and promotion of street art.
19th century philosopher Jurgen Habermas theorised that the domain of a true democratic society is a domain where people can engage in communicative rationality, free speech, civil society and politics within the public sphere. Walter Benjamin, a 20th century philosopher, describes good art work as containing an
“aura of happiness”.
He further posits the experience of viewing good art works as;
Overcoming of religious illumination, a profane illumination, a materialist, anthropological inspiration. (Benjamin, 1962, p. 109).
Critics have characterised Benjamin’s description of observing good art as; “profane” (in relation to experiencing good art) symbolises a “happiness” which imbibes a
“spiritual, sensual and mystical illumination.”
The dichotomy that orbits depict bad art, in the sense of a street art created by “outsiders” and alternative subsets of society, presents an interesting situation concerning the moral postulations of the art elite.
Modern day criminal prosecutors and lawyers argue graffiti defaces public property and is evidence of a neighbourhood’s decline and therefore is a criminal offense. Adair (2012) depicts a general communal perception that street artists are avant-garde, fringe dwellers and anti-heros who originate from anti-social roots. He further argues that street artists such as Banksy impart their message to society through the physical medium of public spaces.
The City of Melbourne has conducted research and community consultation, which revealed that most people dislike graffiti ‘tagging’ (an act of street art whereby a person writing their graffiti name or ‘tag’ on a wall with marker or paint).
City councils and commercial entities commission today’s street artists to create their art in legal public spaces, confirming that street artists’ reflection of expression, adding cultural value to the communities they operate within. Areas where their art works have become popular attract the bourgeois ethos, increasing the value of such cities.
Art theorists claim a direct correlation linking developing cultural and creative capital through appreciating art and social progress. Walter Benjamin’s (1936) theories postulate that art influenced the masses in a political sense by liberating them from domination, the class struggle, through the communion of “ecstasy” within the viewing experience.
Some observe through the lens of history that the utilisation of street art as an instrument, by peoples exercising unrestrained creative expressionism that has actualised the Public Sphere, as envisioned by Habermas. This mechanism of free speech enriches its citizens and communities, generating additional economic, political and societal benefits for all participants.
Bibliography and References;
Adair, D, Walton, P. (2012), ‘ Visual Culture: Art, Artists and Audiences, Griffith University.
Adair, D, Walton, P. (2012), ‘Visual Culture – At the movies, Griffith University
Adair, D, Walton, P. (2012), ‘New Media Theory –Cyber Democracy , Griffith University
Adair, D, Walton, P. (2012), ‘: New Media Theory –Cyber Fiction , Griffith University
Baudrillard, J (1994), Simulacra and Simulation, University of Michigan
Benjamin, Walter (1936), Art in the Age of Mechanical Reproduction
Berger, John (1972), Ways of Seeing, BBC: London
Bouchard D. F and Sherry Simon S. 1977, In Language, Counter-Memory, Practice. ed. Donald F.
Bouchard. Ithaca, New York: Cornell University Press, pp. 124-127.
Habermas, J, 1962 and 1989, “The structural transformation of the public sphere, ”Germany.
Hartley, J, 1996, “Popular Reality”, New York, Pantheon
Foucault, M, (1970) The Order of Things, New York: Pantheon
Florida, R, 2005, ‘Rise of the creative class”, Harper Collins, New York
Rosseuau J.J, 1762, “The Social Contract, Or Principles of Political Right”, Paris The City of Melbourne, 2012, Street art – City of Melbourne, http://www.melbourne.vic.gov.au/ForResidents/StreetCleaningandGraffiti/ GraffitiStreetArt/Pages/Whatisstreetart.aspx Sydney City Council, 2012, “Public Art policy , strategy and guidelines”, http://www.cityofsydney.nsw.gov.au/cityart/about/ PublicArtPolicyStrategyGuidelines.asp 783 – 127 =