Graffiti as a Subculture

Graffiti is a form of subculture which conveys the author’s message and applies a code in its application that befits the elements necessary for classification as a subculture. Graffiti can be defined as an example of subculture corresponding to the main criteria of contemporary definitions of subculture.Advertising We will write a custom essay sample on Graffiti as a Subculture specifically for you for only $16.05 $11/page Learn More Contemporary theoreticians dispute the origin and meaning of subculture as a social phenomenon, analyzing the sociological parameters of the groups of population and their primary motivation for deciding on self-expression in the form of subculture. McCracken (2002) noted that â€Å"The new groups are the necessary inevitable product of our world, not a transgressive reaction to it† (Plenitude: Culture by commotion). McCracken’s assertions can be defined as revolutionary and gave rise to debates with ot her theoreticians who consider subculture as the phenomenon separated from the mainstream of the community, opposing and struggling against it. Titley shifts the emphasis to the sociological characteristics of subculture representatives, admitting that â€Å"subcultures are often the creative expression of cultural difference by marginal groups† (A New approach to youth subculture theory). Actually, this definition does not contradict McCracken’s statements concerning the subculture groups as an integral product of society, but rather evaluates the psychological basis of the phenomenon. The same idea of joining subculture for expressing their protest was developed by Hebdige (2002): â€Å"Subcultures are expressive forms but what they express is, in the last instance, a fundamental tension between those in power and those condemned to subordinate positions and second-class lives† (p. 132). Using these parameters, graffiti can be defined as an example of subcultu re used by contemporary youths for expressing their protest against the generally accepted society norms. The ‘art’ of graffiti is a unique one. It aims at producing a graphic, which passes on a message. The location of choice for the placement of graffiti is visual areas such as walls and bridges, or in easily accessible hidden areas such as public toilets. The developers pass on context specific information depending on the theme of their protest. To produce a successful piece of graffiti, there is a set of skills required in addition to a defiant mindset. Graffiti finds placement in strategic locations to achieve the effects the creator desires. Different members of this subculture have varying levels of skill in as far as the development of graffiti is concerned. Some produce very intricate diagrams with visually attractive graphics while others use simpler techniques to produce their work.Advertising Looking for essay on art and design? Let's see if we can hel p you! Get your first paper with 15% OFF Learn More The illegality of writing graffiti in public places makes it a rushed job in some places while the relative lack of stringent policing in neighborhoods with a graffiti subculture makes it possible to produce intricate designs. Some use graffiti as a means of decorating bland surfaces while others use it to disfigure well-embellished ones. What ties the subculture together is the form of art used to express the ideas, and not necessarily, the specific content of the work produced. The second characteristic of graffiti as an example of subculture is the expression of the views of minority in a non-facilitated environment. In whatever geographical area that a graffiti subculture exists, most likely, it will be in areas where there are no channels of facilitated communication to make possible the effective voicing of the issues. Since there is no channel to vent the frustration experienced, perpetrators use graffiti to communi cate their thoughts and desires. The subculture speaks for the silent masses. Some members use graffiti for other purposes such as humor or for passing on witty comments. The type of graffiti by a single person meant for a small audience finds placement in hidden but highly accessible areas. The expression of the protest against the generally accepted norms is one of the main factors which make the art of graffiti so appealing to the youths. The issue of doing harm to the city landscape and public places is discussed even more often than the art value of particular graffiti. Still, the fact that some of the contemporary painters use traditional canvases for creating their masterpieces proves that in some cases graffiti aesthetics has dominated over the expression of the protest. Taking into account the popularity of graffiti among certain population groups, the development of its aesthetics and the tradition of graffiti painters, graffiti can be defined as a peculiar form of self ex pression and social protest of the subculture representatives. Titley noted that â€Å"Many of these groups engage in protest, but what is interesting is how different this protest is† (A New approach to youth subculture theory). Graffiti is a peculiar form of expression of the youths’ protest, and the overview of the numerous samples and the peculiarities of the styles of particular painters shows the development of this subculture and its unique aesthetics. The analysis of the sociological characteristics of graffiti painters, their motivation for creating pictures on the walls and the symbolic meaning of their masterpieces proves that graffiti at its contemporary stage corresponds to the contemporary definitions of subculture.Advertising We will write a custom essay sample on Graffiti as a Subculture specifically for you for only $16.05 $11/page Learn More Reference List Hebdige, D. 2002. Subculture; the meaning of style. New York: Rout ledge. McCracken, G. 2002. Plenitude: Culture by commotion. [online]. Tittley, M. n.d. A New approach to youth subculture theory. [online]. This essay on Graffiti as a Subculture was written and submitted by user A1dan to help you with your own studies. You are free to use it for research and reference purposes in order to write your own paper; however, you must cite it accordingly. You can donate your paper here.

Interior Design Indian Art, Craft and Color

Interior Design Indian Art, Craft and Color The Indian culture of using art and craft to decorate the interior aspects of buildings such as palaces, temples, royal houses and residences of the wealthy and noble individuals is an old practice but continues to thrive in the modern world (Barnard 13).Advertising We will write a custom research paper sample on Interior Design: Indian Art, Craft and Color specifically for you for only $16.05 $11/page Learn More The aesthetic quality of color, patterns and craftwork used in traditional Indian cultures explain why the style is still popular in the modern context. The purpose of this paper is to develop a comprehensive analysis of Indian art, craft and color as used in interior design. In particular, the paper explores the Rajasthan style, one of the oldest and popular Indian arts culture. The Rajasthan arts culture is widely known for its colorful, lively and attractive characteristics. It originates from the state of Rajasthan, which explains the name of th e arts culture (Dongerkery 29). Among the Rajasthan artworks developed for the interior parts of buildings include Rajasthani murals developed through painting. Embossing is an important artistic style used in developing Rajasthani Murals (Barnard 18). In addition, the Royal Rajput family has played a significant role in maintaining the craft and art industry in India. For instance, fabric colorations and embellishment, painting and interior decorations as well as making of puppets are important aspects of the Rajput arts culture. The Rajsasthani interior design The Rajasthani paintings are generally mural works that give an enthusiastic and embossed artwork to the interior design of various houses in India. In the paintings, the base of the artworks is either canvas board or ply board. Ply boards must undergo a number of processes to ensure that it fits the work. For instance, the surface is coated with wood primer for a number of times to achieve a smooth surface finishing. Then, the artists draw a sketch on the wood or ply surface. In particular, the artists apply relief work on the portions of the main drawing. For example, trees and bushes in a background are developed through embossing (Edwards 66). A mixture of ceramic and powder/glue is one of the main artistic styles used to decorate the interior of the buildings. To develop this mixture, it is necessary for the artists to make soft dough made from a mixture of ceramic powder and glue. The mixture is then used to make a number of shapes of the relief work depending on the designs set for embossing.Advertising Looking for research paper on art? Let's see if we can help you! Get your first paper with 15% OFF Learn More Coloring is a major aspect of the Rajasthan artworks. In fact, all the artworks must be colored to achieve the desired finishing. First, it is necessary to color the background. Any scenery in the background must be completely colored. Then, the artist colors all t he objects closer to the foreground. A number of colors are applied in these artworks. The type of color depends on the objects on the scenery. For instance, bright colors are used to finish dresses. In addition, Rajasthani paintings use bright combination of colors. Moreover, the skin portions are provided different colors. For the jewelry, metallic colors are normally prefers. It is also worth noting that Rajasthan paintings are vanished to provide with adequate protection (Bhandari and Vandana 61). Wall hangings and other decorations on the walls are developed with dresses and mats. They are designed by sticking a number of decorative sequences such as mirrors. Glass is used for framing the paintings, but it is not necessary to use glass. A number of synthetic frames can be used. In the traditional systems, wooden frames made of teakwood or rosewood is used to develop frames, which provides an enhanced ethnic appearance of the objects (Ypma 47). Barnard, Nicholas. Arts and Craft s of India. London: Conran Octopus Limited, 2010. Print. Bhandari, Dhingra and Sudha Vandana. Textiles and Crafts of India. New Delhi: Prakash Book Depot, 2008. Print. Dongerkery, Kamala. Interior decoration in India: Past and Present. London, OUP, 2009. Print.Advertising We will write a custom research paper sample on Interior Design: Indian Art, Craft and Color specifically for you for only $16.05 $11/page Learn More Edwards, Eiluned. Textiles and Dress of Gujarat. Ahmedabad: Mapin Publishing, 2011. Print. Ypma, Herbert. India modern: traditional forms and contemporary design. New Delhi: Phaidon Press, 2004. Print.