1

Reflections on Graffiti Art

Diaa Gissri

California State University Dominguez Hills

Author Note

Diaa Gissri, Department of Business Management, California State University

Dominguez Hills

Correspondence concerning this paper should be addressed to Diaa Gissri, California

State University Dominguez Hills, 1000 E Victoria St, Carson, CA 90747. E-mail:
dgissri1@toromail.csudh.edu

Art 100 — Looking at Art

Professor John Lionel Pierce

November 25, 2018

 2

A contentious dispute exists concerning the issue of to what degree so-called “graffiti art”

is actually art. It is certainly true that graffiti artists have their harsh critics who insist that graffiti

artists are merely vandals, and that graffiti art is merely a form of criminal activity in the sense of

defacing either public or private property. Certainly, it is true that graffiti art can occur within an

illegal context if the artist in question does not have the permission of the owner of the property

in question, whether public or private, to engage in such activities. However, this issue is not

dispositive with regard to the actual question of the legitimacy of graffiti art as an art form.

Graffiti art can certainly be pursued within a legitimate context. In fact, it is not uncommon in

the present era for either private property owners or local public officials to commission graffiti

art projects that are contented for decorative purposes. Therefore, it is necessary to consider that

graffiti art may indeed be a form of artwork that serves a legitimate artistic and aesthetic purpose

on a contextual basis (Ganz, 2004).

Graffiti has unfortunately acquired a negative connation due to the fact that many people

regrettably consider graffiti art to be merely a form of vandalism that has the effect of

undermining the aesthetic value of a community. In fact, graffiti art can significantly enhance the

appearance of a community if pursued in an appropriate manner. Many examples can be found of

legitimately commissioned graffiti art that is utilized for the purpose of adding a sense of

colorfulness or the exotic to a neighborhood, community, or structure. Such forms of art are

particularly popular in communities where there is a large contingent of artistically inclined

people, and where there is an appreciation of diversity as well as the uniqueness of the area on a

cultural basis. Certainly, it is true that many people are able to appreciate the aesthetic value of

such efforts in their community (Champion, 2017).

 3

Graffiti art can also be utilized for the purpose of engaging the promotion of a particular

message. For example, the image that is depicted in Appendix 1 is clearly calling for interracial

unity in order to overcome racism and prejudice, and to fight for social change that would be of

benefit to everyone. The image of a Caucasian and African person shaking hands in order to

overcome their biases is one that is very powerful. The image that is depicted in Appendix 2 is

oriented toward the enhancement of aesthetic values of a kind that emphasize color. The message

of the work is less clear. Instead, the primary purpose of the graffiti art that is depicted in the

image is apparently oriented toward color experimentation, and the maximization of the impact

of the use of color for aesthetic purposes. The image in Appendix 3 is oriented toward the

commemoration of the musical figure John Lennon, one of the Beatles, and a cultural icon.

Lennon’s visage is the key focus of the image, which is enhanced by the use of color in the

periphery (Banksy, 2005).

Clearly, graffiti art is a form of art that can be utilized for genuine aesthetic purposes, and

to enhance the particular environment in which it is produced. This is not to say that graffiti art is

appropriate within any kind of context. Instead, it is appropriate to recognize that there are

indeed particular neighborhoods, communities, or properties where the utilization of graffiti art

for aesthetic purposes is a legitimate cultural endeavor and should be recognized as such. While

is it inappropriate to place graffiti art in a location where such activities have not been

authorized, it is certainly true that graffiti art is a legitimate and valuable art form (Champion,

2017).
 4

References

Banksy (2005). Wall and Piece. New York: Random House UK.

Champion, M. (2017). The Priest, the Prostitute, and the Slander on the Walls: Shifting

Perceptions Towards Historic Graffiti. Peregrinations: Journal of Medieval Art and

Architecture, 6 (1), 5–37.

Ganz, Nicolas (2004). Graffiti World. New York. Abrams.

 5

Appendix 1

Appendix 2
 6

Appendix 3
7