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Differences between street art and traditional gallery art
Art is a means of communication where artists express their views and start a dialog through their creativity in a convincing manner. There are a number of differences between Street art and traditional gallery art that include. The commissioning of traditional art is by an art gallery or other bodies of a Commission and is a creation of particular identified artists. On the other hand, street art is a creation of any artist who does not get charges from a body of a commission. In most instances, street art is a display for the public while the traditional art is a setting of the gallery.Moreover, most of the street art artists get inspiration because of destruction or fame to come up with an elegant art. Other artists also see a way to claim space from the escalating control of corporate by venturing into the lucrative business. On the other hand, traditional gallery art artists perform their work because of the motivation of their talents (Dernie, 2006). Additionally, street art involves demand from the public for what is to be produced by the artist while traditional gallery art is not a public’s demand but rather what the artist has in mind for the public.
Street Art as a Property of the Public
Street art is a property of the public as considered by the majority because it reveals more than a beautiful painting on a wall exposed to the public. It is the individuals who decide on what message they want relayed to them through art and the effects of such creativity from the artists. Artists more often use the street art as an activist of politics. Criticism by use of street art on issues that encompass war, corruption, and capitalism among others has been effectual. Such creativity may act as a watchdog makes the public offer their viewpoint and raise questions. The art portrays news that sometimes media cannot reveal to the public as it will be upon the individuals to interpret the meaning of the art. As a result, the artist will not be accountable to anyone since everyone’s interpretation varies.
Value of Art
Some people have a belief that art and doing business with art are two separate things. Some people also believe that there is a close relation between art and commerce and that artists do produce their work based on the demand and the desires of the consumer. That means, without the demand and the consumers’ desires for the work of art then artists especially the street art artists would not exist (Fenner, 2008). The skills and expertise of artists make them capable of producing images that are attractive enough to draw the attention of buyers. Additionally, there are numerous avenues that artists exploit to diversify their work. Their ability to criticize the ills within the society in a manner that can be relayed by the media also attracts and pleases the public.
Illegitimacy of Mr. Brainwash
Mr. Brainwash in the exit through the gift shop film can be said to be an illegitimate artist since he has the desire but lacks the talent to produce the art for the public. Through endorsements and smarter ways of marketing, Thierry Guetta in the film ‘exit through the gift shop’ lacks expertise in artistry but manages to create a show for art. His show finally becomes successful with lots of financial returns. His desire for videotaping and almost everything makes him establish himself in the scene of street art. He, therefore, becomes financially successful in the field of street art by commercializing the art.
His success comes from the endorsement of Fairey and Banksy by presenting an exhibition art of the size of a Los Angeles warehouse (Bansky, 2010). He does not intensively participate individually in the work relies on his hired men but get the returns, and thus he brainwashes people that he has the talent. Mr. Brainwash has a reputation as a flake who receives fees to perform his duties, and that is why he is a jack of all trades. The people at the top adhere to work with him because he is a swindle, and they too benefit from his actions.
Reasons for reaction of Street Artists to Mr. Brainwash
Bansky, the producer of the film ‘exit through the gift shop’ ones, saw Mr. Brainwash as inappropriate for the job of being a street art artist. He convinced Brainwash to do another project of art as he did the film creation himself. Bansky and Fairey, who endorsed Mr. Brainwash, appear skeptical if Mr. Brainwash and his artistic capability though he seems to care less. Mr. Brainwash even reveals that there are underway plans for a follow-up of his work (Bansky, 2010). Bansky admits that Mr. Brainwash did not conform to the accepted rules of street art or methods of raising the ladder of leadership but instead followed a shorter way to success. Mr. Brainwash ignored the traditional way for success used by famous street artists.
Garden and Glass of Chihuly at Seattle
The museum was set up due to Dale Chihuly’s marvelous art talent in glass art. He studied glass art on Murano Island in Venice, which is the origin of the art of glass. Upon his return to America, apart from teaching, he had a vision to start a school for glass program where artists could venture in glass art. Chihuly’s desire made him convince John and Gould Hauberg, who were the patrons of Seattle and had a farm of trees in Stanwood to allow him have a workshop in the summer (Fenner, 2008). The workshop gave birth to the school of Pilchuck Glass which is the current class of glass glowing. The Pilchuck Glass School has a view as the fundamentally responsible for the status of Seattle as a hotbed of the art of glass. At the start, the school had rare resources and teachers, and students had their meals in the army camps.The Northwest glass history has the name of Chihuly woven all through since its beginning. The museum to honor Chihuly’s work is on the edge to open at the center of Seattle in a few days. The history of Seattle has many diverse faces with various influences that tightly twin together resulting in the current status of Seattle as the epicenter of the art of glass in America (Chihuly & Burgard, 2008). The history of the art of glass in the center of Seattle reflects a high notch glassblowing art: built on teamwork, mentorship, and an excellent experimental spirit. The impressive rise of glass art in Seattle is perplexing because it has not been in existence for long as compared to the American studio glass.Chihuly’s glass art that looks like a glasshouse has a surrounding of a garden that has an incredible color with sprouting gorgeous plants. The beautiful landscape portrays how the garden bridges the confined center of glass and the larger center of Seattle. The glass work is incredibly fantastic with satisfying displays that passers-by cannot deny their curiosity to have a glimpse through the fence.
Three Favorite Pieces at Garden and Glass of Chihuly at Seattle
During my visit to the museum, there were three breathtaking images that duly caught my attention. The images exposed how passionate Chihuly was with glass and how his creativity built magnificent glass shapes. The three models encompass two vivacious glass sculptures and an element of glass act of Carnegie Picture Lab. The sculptures are a reflection of Chihuly’s adoration for art in a flare-up for texture, color, and design. The images were awesome because they had a combination of the structures that are man-made and the natural space. They appear as though they are a provision of nature. The glass artwork draws the viewers’ attention and matches their environment whether the sculptures are rooted in the ground or put hanging on the roof.There is a connection between the work of glass art traditional gallery art, and street art. In both instances, the artists must have the creativity to draw the viewers’ attention. The work of glass art though has more connection with a craft since it is a hand to hand skill learning using glasses (Lewis & Lewis, 2009). Both involve the decorative talent of the artists to produce items that are practical. The three decorative arts have one connection in that the have no function apart from the design for viewing.
Banksy, . (2010). Exit through the gift shop. London: Revolver
Chihuly, D., Burgard, T. A., Fine Arts Museums of San Francisco., & M.H. de Young Memorial Museum. (2008). The art of Dale Chihuly. San Francisco: Chronicle Books.
Dernie, D. (2006). Exhibition design. London: Laurence King.
Fenner, D. E. W. (2008). Art in context: Understanding aesthetic value. Athens: Swallow Press/Ohio University Press.
Lewis, R., & Lewis, S. I. (2009). The power of art. Boston, MA: Wadsworth.