According to Dickenson, New York city was one of the cities where graffiti art first emerged. These visual artworks were made in as a representation of the “race, class, gender, ethnicity, nationality, religion etc.” of the artist or group of artists. During this time, the public visual space used for the graffiti in New York was considered as nuances to business establishments. Nonetheless, by the time that New York experienced financial crisis, the poor became poorer. To voice out their sentiments about the social gap, artists went beyond using public walls and utilized the spaces in public transits or subways. In this way, graffiti became “message-oriented” as it was able to reach a wider audience and allowed others to join in sending a message. More importantly, it became a collective process that encourages creativity wherein artists, or anyone can add, alter, or reestablish the message of the art they see on the streets and the different mobile media. Aside from this, considering that art is a revolutionary process that does not keep still and idle, art medium also evolved with it. In particular, in Brazil, portable forms of graffiti were made, which is known as the lambe-lambes. The most common themes of theses mobile medium and artworks are anchored on the drawings made by children or with “pop culture icons merged with religious ones”. Another public space used for graffiti in Brazil was the billboards and signage for advertisements and real-estate. These public spaces became visual spaces.
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The researcher of this essay "Visual space in street art and graffiti" aims to explore The Growth of Street Art and Graffiti in Visual Space: Cultural Arts in the Making. Art has been extensively growing in the global context of visual space. …
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