Art appreciation

Student Name Professor Name Course Date Banksy’s Art Introduction Street art is more than a decoration; public murals are visual megaphones. A single artist transformed the principles of political art on the wall. Banksy emerged in Bristol in the early 1990s and gained a global following with stencils, murals and public visual interventions. He defended his identity and eliminated the power of celebrity in his work. He is discussed by scholars and journalists due to his murals that provoke the discussion of society on war, capitalism, the power of the government, refugees, and surveillance. Banksy breaks down political concepts into symbols that are located in the cities where millions of people pass daily. He paints on street infrastructure, museum walls, conflict architecture, and temporary art-based structures. He judges social systems through installing murals in uncontrollable public space and letting the people reproduce them without authorization. Anonymity as message-first visual strategy Banksy employs anonymity as architectural art. He does not show his face in the legal art identity channels. He conceals identity to subdue the ego dominance and defend the message dominance. Secrecy makes political murals more powerful by making the message rather than the personality of the artist more prominent (Landau-Donnelly 898). The global press coverage enhances the spread of political mural as it is a mystery. Mystery also generates emotional engagement triggers, which enhance digital reposting systems. Teenagers and adults distribute art more when they feel that the ownership is shared, rather than celebrity-based(Landau-Donnelly 899). Thus, artistic strategy, rather than avoidance of publicity, is hidden identity. It serves as a tool of equal audience reception in digital networks and physical streets. Banksy refused to use personal branding to create message-first architecture of artistic reception. Spread systems are strengthened by mystery, making murals a political event of the people. Disrupting passive viewing Banksy’s murals break the passive viewing systems by compelling response and evaluation. Street art is a challenge to ownership systems since it takes up unpaid and unmonitored public space (Evans 4). Evans believes that the power of murals is achieved when they prevent passivity and require interpretation. In contras...