How can graffiti affect people

Most national studies show that street level graffiti is created by suburban adolescents, predominately male, between the ages of 12 and These markings are also commonly used to communicate with other gangs. Communities with graffiti see a decrease in property values and a loss of business growth and tourism. Cleaning up graffiti drains tax dollars and funds that could be used for other community improvements, such as parks, roads, and schools.

The most effective way to prevent graffiti is to report it and remove it promptly. Studies show that removal within 24 to 48 hours results in a nearly zero rate of reoccurrence. Graffiti affects everyone and all areas of our County. You can do something about graffiti in Gwinnett: Report it, remove it, prevent it. In , Gwinnett County adopted a graffiti eradication ordinance, which requires the removal of graffiti from property within 72 hours.

Artists are going out and creating art, but not with permission to do so. To some extent, graffiti is a little bit of both art and vandalism. She is one of eight area students participating in the Journal Writing Project, now in its 21st year. Sure it can lead most people to alcohol, drugs, and gang activity but does it necessarily have to be bad all the time?

Just think of it this way, in Mexico there are many murals that have graffiti on them and i think that is considered art because most of it is like History kind of. And btw im pretty sure its only illegal if u do it without permission. Anyways thats all im gonna say i just wanted to say what i was thinking. Have you ever seen art on a wall and considered it art or a crime.

I think vandalism is art because it amazes me how people can do things like that. Some people do art to express their feelings. People with depression anxiety or anger do vandalism or other things of art.

It is vandalism. That is different than appreciating art. I googled graffiti art vs vandalism and this came up. It was a nice read, agree with your grandma. Good job! Very interesting and thought provoking. During my trips, I found sentences about politics, love, and sport, small colored drawings and political symbols.

I thought that this art could be considered as a form of collective expression, a form of meta-art. The aesthetic is determined not only by the people who produce the work who are, by the way, anonymous , but also by other causes even atmospheric , time, and chance. As an artist, I need to highlight this aspect and show how meaningful collective thinking and the idea of a meta-aesthetics can be. Of course, we can photograph and document various forms of artistic mural expressions, but the fact of presenting a portion of wall in its material consistency was a provocation made in order to debate the principles of individual creation, property, collective practices, and social thinking.

About the Writer: Ganzeer Ganzeer is the pseudonym of an Egyptian artist who has been operating mainly between graphic design and contemporary art since He refers to his practice as Concept Pop. I saw firsthand in Egypt how street-art played a direct role in some of the political changes between the years of This was simply unheard of.

I also saw a wall of murals commemorating fallen protesters turn into a shrine, where people would come place flowers and look at portraits of their friends and loved ones.

I saw murals that were even the cause of huge clashes. Egyptian artists really knew how to utilize the power of street-art, which is precisely why the Egyptian government introduced and heavily enforced anti-vandalism laws akin to the ones established in America.

Street-art festivals, the method through which cities offer a legal venue for artistic expression are great, but I find that they seldom result in genuine social expression rather than works that are, for the most part, decorative.

There are a few exceptions to the rule, such as the works of Blu, and recently Herakut, and sometimes Os Gemeos, but for the most part, artists tend to treat these festivals as an opportunity to showcase their signature styles or to try out new techniques rather than an opportunity to say something relevant. Uncurated and unsupervised spaces of visual expression are vital for the emergence of socially conscious artwork outside of the rather closed off subculture of street-art.

For the rest of the world—which is actually the vast majority—both graffiti and street-art tend to be utilized as modes of social expression. As opposed to what is common in the U. Of course, this does not take away from the controversy associated with graffiti and street-art, but adds to it.

Having said that, I still think that if unsupervised spaces were widely available—even in Western countries—some very beautiful and socially conscious artwork would emerge out of them.

It would, without a doubt, start off with haphazardly done tags and whatnot, but I imagine it would slowly evolve over time. Someone would come and write something, then someone else would come and draw something in response to that, and then perhaps someone would come and build on top of that drawing, and so on.

Rather than a sacred piece of artwork, framed and hung inside a museum upon completion, this would be an ever-evolving kind of street-art. Very alive and always changing as per the whims and conditions of its surrounding inhabitants.

Artwork that is as much alive as the cities that host them. On this basis, the Mayor took actions to promote graffiti and provide the general public with information about graffiti and the decree. Such graffiti—including street art, graffiti of young people following football clubs, writing of hip hop culture, art murals, political graffiti—has many stories to tell, including signatures or tags. Decree 75 of regulates the legality of graffiti, regardless of its aesthetic quality, emphasizing the process that defines the permissions of the owners of the places where graffiti is made.

That is, no matter how ugly or beautiful, it is critical to have the permission of the owner of the property before graffiti is created. The decree has generated some public acceptance of certain types of graffiti while others remain less popular.

Other graffiti is less accepted, such as football related graffiti, political messages, and, especially, tagging.

There are several surveys indicating improving public opinion of graffiti. But in , a poll by the Bienal de Culturas found that 67 percent believed that artistic graffiti improves the city. The patterns and their difficulty, the techniques, the explosion of colors and tones in the image, for example, are all components of graffiti writing.

Writing on the walls of the city generates phenomena of interpretation, not only in the field of semiotics, but also in simple enjoyment and aesthetic interpretation. The debate is, therefore, open. This, just 3 days after a rally to protect the beloved international landmark from demolition, and mass outrage at the plan to build a condominium complex on site. A year later, all that was left in the wake of its destruction was flattened rubble, construction scaffolds, and cranes.

And, a deep socio-cultural scar on residents of the city and the international graffiti community. For over 20 years, 5Pointz was a most powerful force of positive change in New York City, particularly for its youth.

I was 15 when I first visited 5Pointz, then known as the Phun Phactory. I was a fledgling graffiti writer, only rarely mustering the courage to get up outside of my blackbook. But I was deeply infatuated with the form and determined to get better.

The more I painted, the more I met other writers. My foray into graffiti was the first time I truly felt part of a community. Graffiti gave us a stake in our city and connected us to the world at the same time. The massive structures covered in hundreds of shades and layers of paint were a revelation. The fact that nobodies like us could paint next to legends was exciting and terrifying , and motivated us to paint harder.

It was thrilling to see your own piece from the 7 train, knowing that thousands of other people were seeing it too. Yet, the medium itself and those who practice it are routinely criminalized. Graffiti is arguably the most relevant art form of our time.

Yet, it is attacked and destroyed where it is most accessible and where it is most at home. At the same time, it is routinely commodifed in the service of gentrification.

In New York City, its birthplace, graffiti has been under constant attack since the late s. It sends a message to writers in general, and the young people and communities of color where graffiti originated—that their creative expression is not wanted, is of no value, and is therefore expendable. Long Island City is one of the most rapidly gentrifying neighborhoods in New York City due to its proximity to Manhattan.

But it is artists, like those that popularized 5Pointz, who, in part, brought the neighborhood attention and raised its value. Once they had served their purpose, they were disposed of in favor of condos for the rich. They, in turn, attract rich property developers, who, when they take over, will permit graffiti within certain parameters that serve their interests. Like Jerry Wolkoff, who has promised to maintain significant wall space in his new development—built over 5Pointz—for graffiti writers.

How much space, exactly? Who will be allowed to paint? What will be the criteria? These are all questions that fall on deaf ears, as we are reminded that we are lucky to be getting any space at all.