By formal definition, “street art” pertains to visual art performed and generated in public spaces especially on streets that may be viewed by the greater population and which may consist of graffiti artwork, street photography, sculpture, multimedia-based public art, guerrilla art, street paintings and poster designs with slogan, sticker art, as well as other creations that can find association with artistic endeavor that yields civic exposure and appreciation. Such denotation reflects how street art is treated in response to its primary aim under a variety of approach and themes as diverse as cultures and genres that bear impact upon the minds of street artists. Eventually, prominent street art figures across half the century prior to the second millennium beginning with the 70s to the present like C. Sherman, B. Kruger, K. Haring, J. Shabazz, and B. Cunningham have, in a way or the other, liberated art to a degree that it reaches out to establish connection with the heart of human nature. As an artists who functions on a conceptual framework, Barbara Kruger imparts a postmodern vision of public artistry via the power of black, white, and red in layered photography though she confesses “I feel uncomfortable with the term public art, because I’m not sure what it means; if it means what I think it does, then I don’t do it.” Kruger’s works are characteristic of collage between images and captions carrying bold depictions of truth typically of the issues dealing with individualism.
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The paper "Low culture and Street Art" explores The ideas of "low" culture and "Street Art" from the 70s to the present. In particular, “street art” serves the purpose of contradicting abstract art which is rather known to communicate to sight in the rigid context…
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