Category: Graffiti

Critical Analysis of Antisocial Behaviour of Graffiti

This report will address the antisocial behaviour of Graffiti. The report will subsequently conduct a literature review to understand this antisocial behaviour, it’ll also explain the methods used to acquire and collect relevant information about graffiti. The report will address implemented strategies that have been created to manage this antisocial behaviour.

According to Graffiti (2017), the antisocial behaviour of Graffiti is defined as the visual style of communication that’s classified as an illegal activity in society (Decker, Curry, 2017). It can also be defined as the action of marking public property with writings, symbols or pictures which are conducted by groups or individuals. However, for some people graffiti can be seen as a form of artistic expression. Over centuries and generations, People have developed and found different methods of partaking in such behaviour, these methods consist of various graffiti styles with each style maintaining a unique profile. for example, tagging and mural paintings dated way back to ancient Greek and went on to become popular worldwide especially in the united states. With a growing number of people participating in this antisocial behaviour, lawmakers have created jurisdiction to stop people from participating in such antisocial behaviour. These jurisdictions hold consequences for anyone that doesn’t follow it. These consequences include jail time, criminal charges, penalties, fines and etc. (Morgan, Louise, 2009). The report will now shift its focus to recognizing the cause of this antisocial behaviour.

Literature Review

Graffiti Vandalism: The motivations and Modus Operand of Person who do Graffiti, https://www.melbournegraffiti.com/news/The-motivations-and-modus-operandi-of-persons-who-do-graffiti.pdf

This report will review the Literature titled Graffiti Vandalism to Provide an Understanding of The Reason for The Antisocial behaviour. This literature consists of findings which identify and explains Graffiti offenders reasoning for partaking in such law-breaking behaviour. Key findings within this literature state that most of the graffiti writers identified in the state of South Australia were mainly men and boys between the ages of 12 to 25 years. Younger male participants have an involvement with tagging graffiti whereas older males did graffiti pieces. Other key finding identified the reasons to why people graffiti. The findings state that people are graffiti participants because they want to become famous whereas others participate in this antisocial behaviour for the risk and the rush of Adrenaline. Other people do it to as a way of expressing their emotions through their graffiti which can result in participants meeting and developing modern social relationships. People also part take within this activity because they find it funny, for competitive purposes and political expression. Whatever the reason is it’s important to understand all individuals reasoning will always be different. the study goes on to explain how participants got into this activity. Through conducted interviews participants explained that what they do represents a form of art and there are no intentions to damage public properties. they also explained many of them began graffiti through friends on school grounds whereas other participants got into this antisocial behaviour through family members and even parents.

The literature utilizes a qualitative method along with semi-structured interviews with its participants. The number of participants involved in this study was 52, the usage of qualitative research allowed for 38 in-depth and semi-structured face to face interviews to occur dating back to March 2008 to February 2009. Most participants were recruited from youth community centres allowing any young person from the ages of 14 and up to participate in the study with interviews running for 45 to 60 minutes. Participants were interviewed by two researchers on some occasions one researcher. The questions participants were asked during the interviews differentiated providing participants with the opportunity to explore various views about their involvement in graffiti. Some of the questions that were asked consisted of their graffiti history, the types of graffiti that participants drew, their favourite graffiti locations and at what time of the day would they usually graffiti. Other questions participants were asked was why they participated in such an activity and what they got out of it.

The result of the research conducted concluded that most of the graffiti writers in South Australia were mainly men between the ages of 12 to 25 years. Interestingly, the population investigation which included 2,603 13-year old students in South Australia recognized graffiti had been done by girls (10.9) per cent whereas young boys were (12.3) per cent. The risk of serious and dangerous antisocial behaviours is much more likely to occur to boys than it is to occur to girls. Six members designated ‘yes’ to graffiti and to every single other type of solitary conduct. no standoffish conduct was incorporated into low examination presumed that teenager’s graffiti’s identity is additionally liable to encounter various, parental, social and mental issues.

Strategies used to address antisocial graffiti behaviours

Some of the various strategies that have been implemented to prevent the antisocial behaviour of graffiti are graffiti management toolkit. the Graffiti Management Toolkit purpose is to help and guide neighbourhood networks in finding effective goals to significant nearby problems. While this Toolkit will be most valuable to nearby communities, other target gatherings may incorporate schools, police, not-revenue driven associations and independent ventures. The Toolkit contains a scope of data on current State Government activities, instances of ‘best practice’ in graffitiing the board. also structures for systems and genius structure for assessing graffiti-related issues. This data expects to help neighbourhood networks in finding suitable answers for a nearby issue (Graffiti Management Toolkit, 2017).

The Banyule council has put together a management strategy that will help deal with antisocial graffiti behaviours. its first strategy is to provide free graffiti removal kits for residents, schools, traders and community groups. the council wants to completely eradicate graffiti from public spaces and Council buildings. Another strategy that the council has in place is to address better options for the Council to have graffiti removed from private properties. The council also believes that creating better engagement with young people through the development of street programs will be able to manage the amount of graffiti in the community. The community Education Review promotional materials will strengthen communication about graffiti management which will Investigate education program to target primary school aged children. (Banyule Graffiti Management Strategy, 2018).

Recommended strategies

Many of the management strategies about graffiti in Australian communities have a lot to do with harsh punishments and criminal charges towards individuals. Some of these strategies indeed include jail time and fines which seems like it isn’t stopping people from partaking in such activity. The most effective strategy recommended is to provide participants of this antisocial behaviour a platform to explore and express their graffiti art. An example of such strategy which seems to work is hosier lane in Melbourne, it’s a safe environment but also a controlled environment where it is legal for people to graffiti (Graffiti Management plan, 2018). More management strategies like this won’t stop the behaviour from occurring but at least it allows for the behaviour to be managed within a controlled environment.

Is Graffiti Vandalism: Argumentative Essay

Graffiti art is an amorphous encompassing art that is inspired by the urban environment and a radical contemporary art movement that artists used as a social expression of protest that illustrates ideas from an environmental perspective to convey political or social opinions. It involves the unauthorized spraying, painting, or scratching of words and images on buildings, bridges, streets, or any other surfaces usually in public places. It is regarded as a form of the rebellious art form. It is an evolutionary art movement that arose in New York, Berlin, and London, from the mid-1970s to the 1980s, that is closely linked with hip-hop culture and the production of elaborately designed an expression of discontent that associate selves that often use specific symbols, signatures, or ‘tags’ in their graffiti to adopt a particular style that connects an internal language within the culture interacting with the people to convey their relevant messages. Graffiti can be a springboard for the examination of personal identity, commercial design, social history, and community conflict. (Whitehead, J. L., 2015) Within the street art world, graffiti artists do not consider their artwork to be defacing public or private property, but rather see it as bringing a voice to the disempowered (Howze, 2008), beauty to an unsightly locale, or developing one’s identity through a pseudonym (Othen, P., 2006). They seek to retain the exciting, outsider, rebellious spirit that originally helped define the graffiti art revolution throughout the years. As it was a “visual representation with a unique and holistic aesthetic” (Kan, 2001, p. 21). Graffiti art is an experiment in identity, working to develop a sense of “self” as the artist progresses artistically and developmentally to express their personal visions, values, and opinions on a daily basis on the streets as their explosive platform as a graffiti artist.

Graffiti art has historically been viewed as a form of vandalism, a curious enigma, and a menace to society. Graffiti art continues to slowly gain notoriety within the walls of famous galleries and museum spaces, yet still takes a back seat to that of traditional, mainstream accepted art forms. Although it can be considered an art, it happens that some graffiti artists willfully destruct or damage a property that adds diminishing one’s property value. To some particular viewers, they find any given piece of graffiti artistically irrelevant. In the world of graffiti, Manco (2002), suggests that “Graffiti art, as an idea, has always existed alongside other artist endeavors, the difference being that it is a mode of self-expression using methods that are seen as criminal, or outside the conventional art world, rather than specifically sanctioned or commissioned art” (p. 9). In our world today, graffiti artists receive negative public perceptions. The majority of the complaints are about the legality of work, diminishing public property, and the expense to remove their artworks.

However, from a perspective of a graffiti artist, this form of art is an artistic process of establishing one’s sense of identity. Yet, this is even more so with graffiti than any other form of artistic practice because graffiti is a youth-based art form. Graffiti artists range in age from 12 to 30, with the vast majority under the age of 18. Graffiti artists create their works during the period of their lives when they are establishing themselves as separate individuals seeking autonomy. By seeking it, often through acts of rebellion, youth begin the process of establishing their own identity. It motivates them artistically discuss current events, addresses controversy, and revolution, make a statement about society as it speaks actions, and illustrates an important discussion that needs to be known. It allows them visually stimulates their mind in the complex world. They view graffiti as a demanded change in our society as well as developing their selves as an artist in our community.

Graffiti is not a type of vandalism that needs to be countered by artistic arguments. Rather, people should focus on the evolution of the perception and acceptance of graffiti as a mainstream art form that comes from established artistic concepts within our society.