Writing On The Walls Of Public Property: Part 2 – The Industry

Brighton-based writer Andrew Finch discusses the relationship between graffiti and the entertainment industry in the second part of his forthcoming zine “WRITING ON THE WALLS OF PUBLIC PROPERTY IS NEITHER DONE FOR CRITICAL ACCLAIM NOR FINANCIAL REWARD – IT IS THEREFORE THE PUREST FORM OF ART. DISCUSS”.

Over time the art world has become increasingly exclusive and inaccessible to some of the most creative minds in the modern world; minds usually belonging to young people with intense drive and talent but no money. Continuously art is bought and sold and commoditized because of wealthy collectors and museums that are able to afford the monumentally high prices people place on art. Although exhibitions are held and many art private art spaces are open throughout the year, a distance is kept between the art and the observer, making them feel as though the art isn’t theirs to be part of.

Paints and other artistic materials are highly priced and often unaffordable to young people who wish to create for the sake of creating, for the sake of showing what it is that they feel inside themselves. This is why many artworks that come to light in the 21st century are often constructed using primitive objects, often found and manipulated to reflect an original idea.

Throughout the history of art, it has been almost absolutely necessary to own money, in order to own the means of producing art that will be noticed and appreciated. However this is primitive in itself, as thousands of people other than the recognised artists associated with the history possessed the overwhelming talent of internally constructing meaningful artistic ideas. Ideas that ignite with a small revelation, and are left to build in your head, collecting and discarding additions that will eventually be actualised if the artist truly believes is worth creating. The basis of art is that it should be universally enjoyed by all those who wish to enjoy it, and that also means it should be open to all who also wish to partake in it.

More often than not, the art world is valued in money. The piece itself may be completed externally of any interest in money, but once it gathers interest and takes its place amongst contemporaries in the world of art, it becomes a product. The true value of art should lie embedded in the need to create, to feel something that we otherwise may not have felt, to understand ourselves better and to understand others. To capture something that holds either personal or social importance, and will forever be used as an example of subjective significance, to a generation or to a single person.

At an alarming pace our culture is moving away from art and genuine values of truth and social consciousness to a level of distraction and commercialisation. To experience and partake in culture is to experience something superficial, controlled by what sells products and what is popular, when true art always has and always will be created by those with no need for financial rewards. But unfortunately these works are being smothered, and discarded. Left to rot or be painted over.

At an alarming pace our culture is moving away from art and genuine values of truth and social consciousness.While the need to create becomes more apparent, the will to create seems to be diminishing. There will always be those that feel the urgency to paint or draw or write, but the motivation to create that people feel when they are young lessens with age. The burden of responsibility and maturity replaces the time and irresponsibility we once demonstrated in art. Time is now an enterprising opportunity, money is to be made and time is precious. In art making, and similarly in art marking when in childhood, time is not a factor, and if you make a mistake in what you are doing not only can you work around it and let your imagination turn it into something completely different, but the satisfaction comes in seeing where your creativity takes you. It’s not about the destination, but the road that takes you there.

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