Introduction of getting works done by has an individual

Introduction

Art can be many ways
showcased by artists as a song, or has an painting. Art is always been created
for a purpose of a kind but being this has art being potrayed in  public gesture or an expression which is
seemingly canvased at a section scale of society & global understanding
that has an artists, its their very duty to make sure their expression is
undoubtedly recreational or social justice (bringing freedom of speech involving
as an citizen of nation), or conclusive, etc. as said about freedom of
expression is of all kinds certainly artistic freedom of expression is
fundamental. We should protect artist, by not defining an role or could be by
giving the margin of role to the individual artist as a defined by their
creativity. We have alternatives for various artistical ways of getting works
done by has an individual artists aspect than making it into an capital for
only those who either require funding or in any manner of benefits than its
very context of contemporary art evolving in 21st century of Indian
history being paralyzed by various policies majorly involving political agendas
to be depicted by the governing governments favour and not by its very concept
of beautification of city and allowed spaces which are meant for social
gatherings and refreshing experiences and which is actually being an promoter
of tug of war to make sure an monomial statements which is making our towns and
cities with our public being affected subconsciously to an doubted
psychological space of belief where in people would be landing to inhuman by
the years to come by if we don’t change this way of misused freedom of
expression.

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Origin of Art

Much
has been written on the origin or ‘birth’ of art. Most of these articles and
books are mainly or entirely concerned with the European cave art of the Upper
Palaeolithic. The long-held view that modern human behaviour, including art,
only began when Homo sapiens migrated from Africa to Europe around 45 000 years
before present (BP) is based on the idea that there was a rapid evolutionary
change in the human brain and hence cognition at this time, which is referred
to as the ‘Upper Palaeolithic Revolution’ (e.g. Bar-Yosef, 2002; see also
references in McBrearty & Brooks, 2000) or the ‘Transition’ (e.g.
Lewis-Williams, 2002).

 

Human Evolution
and Art

There is art in Australia, Asia, Europe and
Africa between 30 and 20 thousand years ago, prior to the 18,000 year climate
period known as the Last Glacial Maximum. This indicates that art may have
accompanied human groups generally as they expanded their range out of Africa.
Anatomically modern humans probably existed 120,000 years ago in Africa.
Anatomically kinda-modern humans are much earlier here and there in Africa.
Neanderthals, who were very modern in many ways, and modern humans (who
probably get more credit than they deserve for being different from
Neanderthals) diverged about 500,000 years ago give or take a hundred thousand
years. Fully modern human brain size, for example, probably existed at over
300,000 years ago. Certain aspects of stone tool technology that might (might!)
signal human modernisms of some kind might date to 250,000 years ago or,
depending on what is important, closer to 400,000 years ago.

Thus we have several dates that are candidates
for important aspects of modern humanness being in place: 500,000, 300,000,
250,000, and 120,000. Then, we have a date by which art is assumed present
among all humans: Call it 30,000. In between we have things like the
scratched-up piece of Ochre from Blombos Cave. Somewhere in there … between
several hundred thousand years ago and several tens of thousands years ago …
the production of art as a feature of humans emerged.

Evidence for a pre-hominin origin of color
appreciation and enjoyment of the creative process Many captive chimpanzees
enjoy painting with color – their ‘art’ resembles the paintings that young
children make with pots of color applied with fingers or brushes. Congo, an
exceptionally intelligent chimpanzee resident in London Zoo, was encouraged to
paint by the zoologist ? anthropologist Desmond Morris in the late 1950s.

 

What is Art?

Leo Tolstoy, in his essay “What Is Art?”:
Art is not, as the metaphysicians say, the manifestation of some mysterious
idea of beauty or God; it is not, as the aesthetical physiologists say, a game
in which man lets off his excess of stored-up energy; it is not the expression
of man’s emotions by external signs; it is not the production of pleasing
objects; and, above all, it is not pleasure; but it is a means of union among
men, joining them together in the same feelings, and indispensable for the life
and progress toward well-being of individuals and of humanity.

Frank Lloyd Wright, writing in 1957, as cited in Frank Lloyd
Wright on Architecture, Nature, and the Human Spirit: A Collection of
Quotations: Art is a discovery and development of elementary
principles of nature into beautiful forms suitable for human use. The Greek
philosopher Aristophanes, writing in the 4th century B.C.: Let each man
exercise the art he knows.

As
said by previous notions the very aspect of art is to reveal an form of
co-existential dimensions of human being as travelled by their very known
perspective times or seeking towards an vision of future but, where as coming
to impact of it on art which is scaled on macro level of city, shouldn’t  be delivering their own perspective of art
and beautification through their only understandings onto the city scale it
should be well versed and keenly understood by the group of artists involving
themselves to cities historical realms and primarily to cities historical
identities , knowledge to be shared directly or to be made into an puzzled open
statement has da-Vinci paintings to avoid kiosks at times of agitations of
public because has an artists, it’s a very precise duty to be done in terms of
delivering the idea of art to be made and making sure the art is safe at times
of agitations by not making where bold statements of revolt leading to perish
by agitated public at times as we could see in our past of cities of India.

As we
could see the images below which refers to city beautification in the name of
art and its culture being painted on walls of flyovers and underpasses without
any fundamentals of drawing, it is very unlikely as an citizen to see the
cities very essence of statement getting diminished by fellow painters drawing
some copied art which is available over internet and without any further
thought or without any scrutiny of any committee by governing members and is
getting painted over walls of our cities by which it makes an statement of
present days art has an statement to be known to other side of world.

Making
an random themed concept of art on city scale is going to affect the citizens
of the societies and also the tourism gets a low profiled on by degrading the
qualitative aspect of arts, beautification and its culture being depicted on
walls of cities in the name of wall art. As this art being publicly showcased
to public of all ages and nationality so their moral value and their emotional
behavioural is at stake by artists depicting their expression of art which
would be a subconscious change in the mood from normal to either sanity to
insanity if that’s not made to inspire many viewers viewing it and experiencing
art in public spaces.

Creating visual art is one of the defining characteristics of the human
species, but the paucity of archaeological evidence means that we have limited
information on the origin and evolution of this aspect of human culture. The
components of art include color, pattern and the reproduction of visual
likeness. Art, in its many forms, is practiced by almost all human cultures and
can be regarded as one of the defining characteristics of the human species. In
all societies today, the visual arts are intimately intertwined with music,
dance, ritual (marking life landmarks, death, religion and politics) and
language (poetry, song and story-telling). Nevertheless, with the evolution of
human cognition, they were deployed in new ways, with complex symbolic meaning
becoming attached to them.

Intention and perception:
communication between artist and viewer

Art
does not exist in a vacuum but requires a social context, otherwise it is
meaningless. To be fully ‘seen’ by a viewer, there must be some awareness of
the symbolism being communicated. The social context of humans has universal
elements. Painting with a conscious aim to portray symbolic content for
communication with the viewer is inherent in the work of mature artists and
their eye to see the future.

The idea
of passing through a surface may be unfamiliar to Western adults but it is a
normal part of our childhood world, in which children can pass through a
mirror, the back of a wardrobe, a wall at King’s Cross station, or a patch cut
out of the air, to enter a realm in which animals can talk and children can fly
(Carroll, 1872; Lewis, 1950; Pullman, 1997; Rowling, 1997). Finally, it is
essential to remember to put aside the modern Western secular, scientific world
view and attempt to look through the eyes of an acute observer of nature, for
whom nature and the spiritual world are one and the same. Looking at the
Chauvet paintings with this freedom of mind, one can see the whole gamut of
human emotions. Anger, aggression and conflict are embodied by powerful rhinoceros
images. One remarkable portrait, the upper animal in Fig. 12A, has three extra
body outlines and a total of seven anterior horns suggesting an animal tossing
its head in a display of threat.

Charcoal
drawings of rhinoceros and cave lions, suggesting (A) threat, (B) aggressive
competition and (C) organized purpose(Chauvet cave, Arde`che; Aurignacian,_29
000-32 000 BP).

So as
we have seen the above citations and their expression and that which has been
made on walls of caves in ancient times that very aspect made us know how our
ancient human beings survived from dangerous carnivorous animals and learned
art of hunting likely we also could change our society in ways we could make
art as an inspirational to all beings to prosper humanity and to reciprocate their
psychological affects to be in positive affirmations rather than making
unreasonable way of portraying just as an pigmented layers of paint on city
scaping and its beautification getting vaguely on some parts of walls to fulfil
their minor agendas and not seeing the very impact of it on peoples
psychological conditioning towards art in these modern days which we should be
progressing with day to day life and keeping up nations pride up high.

Street
art, an offspring of the global metropolis and a product of its socio-urban
fabric, has inevitably grown on, and been sustained by, urban architecture.
Individual taggers and graffiti crews have proliferated in European cities
since the 1980s. In the beginning, they mirrored their North American counterparts’
socio-political preoccupations that were a product of deteriorating
socio-economic and socio-urban conditions in depressed sectors of metropolitan
areas. In the early 1990s, however, with economic development and the
beginnings of urban regeneration processes came the first large-scale mutation
of tagging into ‘graffiti art’. With larger and more recognizable works, and
visual rather than textual content, by the late 1990s graffiti was accepted by
increasingly broader sections of urban population as ‘street art’. A new form
of public art, street art could claim a legitimate part in the forming and
transforming of urban identities in both their visual and their spatial
iterations.

The
cold, concrete walls of the spaces we inhabit have become living canvases.
Crying out to be heard as though they have come alive with every spray of an
aerosol can or smoothing of a sticker or poster, they act as reflections of
ourselves and the cities in which we live. Blotches of color and the curvature
of thick black lines speak to us as the poetry of our time and illustrate the
cultural climate and political commentary of our everyday lives. Their
messages, too loud to be ignored, make looking down while walking nearly
impossible and instead force us to lift our eyes and observe our surroundings.

Graffiti Vandalism?

Street Art And The City: Some
Considerations

Graffiti
is primarily a product of an urban environment that local governments need to
engage with creatively, not merely take a strict zero tolerance approach where
engagement is seen as a diversion that hopes to tame a vigorous and diverse
form of expression. This paper is in two sections. The first looks at graffiti
and street art in the City of Melbourne within the framework of vandalism, a
label imposed upon it by local and state governments, sections of the media and
general public. It also attempts to give voice to those who are described as
vandals by acknowledging their art form’s own histories.

Melbourne support initiatives
for graffiti:

The
City of Melbourne will work with property owners, mangers and occupiers,
graffiti writers, Victorian Police and local communities to investigate
providing legitimate avenues for murals and street art to be displayed. The
City of Melbourne will engage with the arts community regarding murals and
street art, for example, in conjunction with cultural festivals or arts
development projects in the public domain. The City of Melbourne will
positively engage with graffiti writers in mentoring and arts programmes to
facilitate opportunities for legitimate artistic expression and to divert their
efforts away from illegal and towards high quality work. Melbourne City Council
(MCC) Graffiti Management Plan, 2006 The City of Melbourne sees legal work as a
diversion from the illegal. It sees the funding of street art projects as a way
of hopefully curtailing the output of artists and restricting them to
council-sanctioned spaces, where the emphasis is on high-quality work.

But
what is not acknowledged is that for an artist to be able to create such work
they must be experienced and, as in any other field where expertise is
demanded, there is an apprenticeship that needs to be served and a range of
skills developed before one becomes proficient and able to build up the
personal style that is so often admired by pedestrians, train travellers and
councillors alike. These skills, for a graffiti artist, are honed on the
street, on trains and in railyards, and they often begin with tagging, targeted
as the worst of what the council and many residents see in graffiti. It is just
not possible to divorce most street art from tagging; a form that also has its
own styles and levels of expertise.

Norska
painting in legal Tunnel Project

The
principal difference between legal street art and its illegal counterpart may
be neatness. Legal art is done where permits are obtained, the artists are
often contracted, paint is usually purchased by the owner of the property or
local council and the wall is worked on over consecutive sessions that have been
determined in consultation with local businesses and people living in the
immediate vicinity. Illegal work is created under the pressures of, often,
having to work at night, being aware that police or other authorities may have
you under surveillance and working quickly (which graffiti artists do, with
great skill and very conscientiously) to move on before one is possibly
threatened or arrested. This type of pressure and material restriction is
alleviated in legal work, which enables artists to perhaps consider their skill
levels more minutely, or begin to think of the whole wall as one unit, a unit
made up of separate pieces still, but one that may be interconnected through
colour choices or fill between the individual artist’s works.

Time,
and the ease of working during the day under proper health and safety
conditions with the support of local counsels or private property owners, gives
a particular look to a wall. Pieces done illegally under often very trying
conditions make for a different aesthetic, not only because of the pressures of
the occasion, but also, significantly, because the walls are developed under a
different time, time that is chaotic.

In
another MCC-sponsored street art project (November 2007)  in Union Lane in the city centre, 540 square
metres of legal walls were painted by more than eighty artists, from
adolescents to men and women in their late twenties, with varying skill levels.
As of February 2008 very little tagging has been done over the work. Most
graffiti artists will respect the work of other artists, especially if that
work is of a high standard. In the Tunnel Project, an artist, when leaving an
unfinished work for the night, sprayed ‘respect’ on the wall to denote that it
would be completed soon and requesting that no one tag the space. The work was
not damaged in between these painting sessions. There is also minimal tagging
on the Union Lane project, most of which either raises issues about the work’s
legitimacy or discusses the work’s quality.

As an
responsible citizens we should stand for an fellow artists to create a venue or
sanctioned space for legal wall art which has an concept of evolution of modern
art also which could be a significant place to be painted by artists to
maintain an aesthetic sense of cities culture to be painted onto spaces
provided and deriving its very note from legal and illegal counterparts to
where and how the permits permitting the artists expressing their vision of cities
in artwork in public spaces sensibly.

 

City
beautification at Hi-tech city flyover and Hitex roads painted with oil
varnished paints on trees and over ways and underpasses

As we
could see the local painters are painting the canvas of city scale into an
paintings in which much of their immature ways of talents without any proper knowledge
of art and its impact are been shown without having a sense of principle of
design, art, aesthetics and its fundamentals and without any marginal line of
limitations to paint and freedom in its ways has been annoying after ages of
fine arts being ahead of their times and we in present day society painting
worse than art and culture being represented by their early times.

We has
an artist in twenty first century of contemporary art, living in society of
modern era should be showing an evolution which could be seen through an eye of
an individual viewing it and able to understand it and get inspired by it
consciously or subconsciously. We also have seen the art and painting work
being done in two states namely Telangana and Andhra Pradesh and the cities
where its very beauty of urbanization has been covered in the name of
beautification of city and which is actually not making an statement of art
just painting an wall with underivative way of expressing art as painting or
just by giving to any amateur painter or an amateur craftsman to make their
indefinite statements in an cities beautification projects just for their
materialistic benefits by administration and that being effectively playing an
major role of change in behaviours and attitudes towards art, beautification
and culture to psychological condition of children watching it and its better
not make an unrequired statements or being meaningless in the name of art. As
an artists and citizens particularly it’s our responsibility to see that we should
respect all children as an active, curious learner with ideas to communicate
the future that could astound with their tender minds.

The
work of street art is painted as an national bird of our nation seems much
finer than other artworks which were executed like painting over the landscaped
trees and not allowing the natures ecological footprints getting tampered and
making an unnatural way of scaping land by painting over it and bringing the
concept of beautification to an nullified context of contemporary art exposure
to public by doing so states that we re going from insanity to an illusive way
of dealing art to break the network cycle of nature in the name of
beautification of city.

Conclusion

            Art is discovering ourselves &
projecting ourselves in the future. Art can change completely an moment, to
unable an action, where there was a fear & many things can happen with
piece of art. Through the eyes of an artist we can actually repair to an
reality that does not exist today or has already been in past with various
traumas & sacrifices to get this point of discussing it and we can picture
it and which allows us to move forward. The very hope of art is in collectively
of various forms, techniques, use of advanced tools with most advanced
technology being used to make an art which is far more less mature than an
toddlers of ages of initial human evolution of times and as art canvased over
primely momenta areas of cities its expression shall recognize &
acknowledge by soothing peoples fears and to also see the emotional side or is
somebodies pride on the line or anyone feeling embarrassed.

Its
impact on changing minds & perceptions. Imagination is creativity and has
an individual artist & in the context of evolution of art in public spaces
is to showcase the heritage valued parts of city, or an nation or making an
space of expression of the trauma caused to the space where now (the present)
is being open to all individuals. Impact of street art and its valued impact on
children should be encouraging to step ahead to paint and examine the way it
might be artistical aspect of future generations to view upon and know about
our present days scenarios in one singular form. On a note we are in state of dilemma
about art not being enough to be stated as and insufficient to be illegal as
graffiti.

As an
audient perspective the beautification of street art in majority or true
meaning should be an space of art which could have limitations of marginal
ethics to citizen of the nation in which it shall not be crossing its line of
emotional content where in an individual feels unsafe or threatened by any
means of art work that provokes neighbourhoods and could be endangering for art.
There should be an commissioned advisory committee to make sure beautification
and cultured art is been appropriately made to be delivered on city walls as
street art in cities that shall safeguard its bound advisory committees
decision and be annually addressed to its very duty in preserving it on a
longer periods of time effectively and impartially to the governing governments
and see that art makes sense, adds creativity in peoples psychological behaviour
in manner to make their citizens ahead of their times and getting best
citizenship manners to inspire the living of self and neighbouring societies to
get inspired by and live lives better artistically .

References

Ø 
Leventis, P 2013 Walls of Crisis: Street Art and Urban Fabric in Central
Athens, 2000–2012. Architectural Histories, 1(1): 19

Ø  The Art of Invisibility Paperback – 14 Feb
2017by Kevin Mitnick

Ø  Understanding Human Behavior and the Social Environment
(Empowerment) 9th Edition by Charles H. Zastrow,? Karen K.
Kirst-Ashman 

Ø  The World Atlas of Street
Art and Graffiti-Rafael Schacte- September 3, 2013- ISBN: 9780300199420

Ø  The Mammoth Book of Street Art Paperback – November
27, 2012 by Jake 

Ø 
Subway Art Paperback – January
11, 2016 by Henry
Chalfant (Author),? Martha Cooper 

Ø  https://www.brainpickings.org/2012/06/22/what-is-art/

Ø  Frank Lloyd Wright, writing in 1957, as cited in Frank Lloyd Wright
on Architecture, Nature, and the Human Spirit: A Collection of Quotations

Ø  https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2815939/pdf/joa0216-0158.pdf
Pg.: 1-19

Ø 
http://www.smartbeginningsse.org/wp-content/uploads/2016/03/considerthewalls.pdf Pg: 1-5

Ø 
https://www.bendoregon.gov/government/citizen-committees/arts-beautification-culture-commission