Graffiti Perceptions And Historical Connections - OECD
Graffiti art: perceptions and connectionsSecondary (ages 11 – 14)Visual artsStudents find out about graffiti art, explore different attitudes towards this formof art, and develop and express their own viewpoint. They analyse how graffiti artis related to other art forms, such as cave art. The activity will end with theproduction of a written statement and a pictorial representation of the connectionbetween these two art forms.NOTE: This activity can be implemented independently or as part of a longer project comprising also theactivities “Graffiti art: styles, iconography and message” and “The Duke of Lancaster: a graffiti case study”.Time allocation4 lesson periodsSubject contentArt theory (theory of representation)History of art (cave art, graffiti art)Interpreting and using visual arts elementsUsing different visual arts techniquesCreativity andcritical thinkingThis unit has a critical thinking and creativity focus: Play with unusual and radical ideasChallenge assumptionsGenerate ideas and make connectionsProduce, perform or envision something personalOther skillsCollaboration, CommunicationKey wordsgraffiti; cave art; representation; art formsProducts and processes to assessStudents participate in discussions and produce and present both a poster and a piece ofartwork showing connections between graffiti and cave art. Students demonstrate awillingness to explore and challenge a variety of ideas about the nature of art. At the highestlevels of achievement, they consider and challenge several ways of formulating and answeringthe question of the relationship between graffiti, art, and cave art, and show clearunderstanding of the strength and limitations of their chosen positions, as well as alternativepositions. They show an openness to the ideas, critiques or feedback of others and awillingness to change their own views and outputs in response to new materials or ideas.Their posters and pieces of artwork are both imaginative and personal and they do not shyaway from taking risks in the formulation, techniques, composition or content of outputs.This work was developed by teachers in Wales for and adapted by the OECD for the CERI project Fostering and assessing creativity andcritical thinking skills. It is available under the Creative Commons Attribution-NonCommercial-ShareAlike 3.0 IGO licence (CC BY-NC-SA 3.0IGO). OECD
Teaching and Learning planThis plan suggests potential steps for implementing the activity. Teachers can introduce as many modifications as they see fit to adapt the activity to their teaching context.Step12DurationLessonperiod 1Teacher and student rolesStudents are divided into groups and discuss the following topics: What is graffiti? Have you seen any local graffiti? Why do people make graffiti? Is it art? What skills does someone have to have to make you decide their graffiti isart? Where do you think graffiti is popular in the world/the local area?After an initial discussion students report back to the class to share the answers they cameup with.The teacher circulates among the groups and, if needed, facilitates the discussion by providingbackground information (e.g. making students aware of the existence of different art theoriesthat propose different concepts of art). The teacher helps students become aware of thedivergences and the connections between the answers provided by the different groups.The teacher then presents a series of resources such as online galleries and short films (seeResources) about the nature of graffiti art and its history.Subject contentDeveloping knowledge ofmodern art forms and ng Knowledge ofartistic movements and theirsocio-cultural contextArticulating andviews about artDeveloping knowledge ofartistic movements and theirhistorical contextIdentifying the weaknesses andstrengths of own and others’perspectives on graffiti artChecking the accuracy of owninterpretation of graffiti art (onaesthetic or sociocultural grounds)Students report back to the class and explain whether their view on graffiti art changed (andwhy) after watching the videos and seeing the examples of graffiti art. For instance, theyexplain whether they had any preconceptions that changed after listening to people talkabout why they do graffiti art.3Challenging art theories (e.g. findreasons for and against consideringgraffiti an art form)presentingThe groups are asked to go back to the initial set of questions to see if they come up withdifferent answers (or nuanced ones) on the basis of the examples and the videos they justsaw.The teacher will help students become aware of the thought processes that lead to theformation of artistic opinion, and of how opinions can change by integrating a diversity ofperspectives.In groups, students do online research to answer the following question: “Is graffiti a new artform? What is the oldest graffiti you can find?”After the group discussion, students present their hypotheses to the class.Creativity and critical thinkingFinding multiple perspectives(aesthetic, technical, sociocultural,representational) to interpret apiece of art and compare themJustifying own opinion on graffitiart while acknowledging theuncertainty of the endorsedopinionDeveloping knowledgeancient forms of artofMaking connections (e.g. betweenancient forms and new forms ofart/graffiti)
4Lessonperiod 2Each group then reports back to the class, highlighting the connections as well as thedifferences between cave art and graffiti art. Students explain whether their answer to thequestion “Is graffiti a new art form?” has changed or has been nuanced.Students go back to their groups and are asked to write a collective statement about thedifferences and similarities between graffiti and cave art. Their statement should be displayedas a poster that they will present at the end of the lesson. The teacher will make studentsaware that by presenting ideas through different formats (e.g. written text, poster, audiorecording) they can reach different audiences.567The teacher then points students to two online resources about cave art (see Resources) andasks them to observe cave paintings and to discuss the similarities/differences between caveart and graffiti. The teacher may suggest focusing on colour, materials, shape, text, imagery,purpose, motivation, and context.Students are asked to consider to which extent their previous hypothesis on whether graffitiis a new art form changes based on the new information provided by these resources.Lessonperiod 3Lessonperiod 4Students give each other feedback on the posters and they explain how they would take intoaccount the feedback received to improve their posters.Students are asked to build on the knowledge gained in the previous lessons to produce eitherof the following:a.) a piece of contemporary graffiti based on a piece of cave art,b.) a piece of cave art based on a piece of contemporary graffiti.Students are given 15 minutes to explore possible ways of implementing option a or option band they will produce a sketch of their envisioned work.In pairs, they will have 15 minutes to present their project to each other and give and receivefeedback.They will then have 15 more minutes to work individually and produce a new version of thesketch on the basis of the discussion with a classmate.During the last 15 minutes students present their final sketches to the class explaining howtheir artwork represents the connection between graffiti and cave art.Students create their artwork based on the sketch produced in the previous lesson.Observing,analysingdescribing a piece of artandExplaining and justifying their ownperspective on the basis of relevantcriteriaInterpreting a piece of artwithin its historical andsociocultural contextPresenting ideas about visualarts using different formats(written, visual) to reachdifferent audiences and in astructured wayDeveloping knowledge oftechniques and materials usedin different art movementsDeveloping presentation skillsin a visual arts contextCombiningandsynthetizingdifferent perspectives into acollective statementEnvisioning an artistic output bymaking connections betweentechniques of different artmovements and thinking abouthow to combine in a single artworkProducing a meaningful artisticoutput (e.g. pictorial interpretationof the relationship between two artforms)Being able to use a variety oftechniques and materials toproduce an artwork belongingto a specific styleCreating art with expressivequalities (by combining techniquesof different art movements into asingle artwork)
Resources and examples forinspirationWeb andprint Graffiti Gallery ) – this gallery of images inNew York in the 1970s and today could be used as a starting stimulus Tate Modern ition/street-art) – 2 films (of 5and 9 minutes duration) Tate Modern (http://www2.tate.org.uk/streetart/index hd.html) – Interactive tour of Street ArtExhibition Interview of young people with street artist (http://www.tate.org.uk/kids/explore) The Why Factor (http://www.bbc.co.uk/programmes/p033l4gg) – Radio 4 programme exploringwhy people do Graffiti(15mins) Wild Style (1983) (https://www.youtube.com/watch?v lQQyGkWkTNU) First /American hip hopfeature Trailer (Preview to check suitability for your group) Style Wars (1983) ( https://www.youtube.com/watch?v f9KxbaSU-Eo )– American documentary onhip hop culture and its American roots, with emphasis on graffiti, although b-boying and rapping alsoincluded. Full movie (you may want to select clips). ng) - Newspaper article Cave art: /www.bradshawfoundation.com/chauvet/chauvet cave art.php Lascaux Cave Paintings: https://vimeo.com/40849516Other Computer and internet accessDigital camera / iPad / mobile phone to take photosArt and design materials for creating graffiti designsOpportunities to adapt, extend, andenrich A longer project could also involved the activities “Graffiti art: styles, iconography and message”and “The Duke of Lancaster: a graffiti case study”.
Creativity and critical thinkingrubric for visual arts Mapping of the different steps of the lesson plan against the OECD rubric to identify the creativeand/or critical thinking skills the different parts of the lesson aim to developCREATIVITYCRITICAL THINKINGStepsComing up with new ideasand solutionsStepsQuestioning and evaluating ideasand solutions1,3,4INQUIRINGMake connections to other visual artsconcepts and media or to conceptual ideasin other disciplinesIMAGININGPlay with unusual and radical visual artsideas when preparing or creating a piece ofvisual art2,5,6Consider several perspectives on the content,technique or expression of a piece of visual arts2,4,5Create visual art that shows expressivequalities or personally novel ways to engagea subject matter5-7Explain both strengths and limitations of a pieceof visual arts justified by aesthetic, logical andpossibly other criteria5,6DOINGReflect on steps taken in creating a piece ofREFLECTING visual art and on its novelty compared toconventions6Identify and question assumptions andconventional rules in a piece of visual art(content, style, technique, colour, composition,etc.)Reflect on the chosen expressive choices of avisual arts piece relative to possible alternatives1,32,4
AppendixDefinitions and background information for teachersThe word graffiti originates from the Italian 'to scratch' but also derives from Greek,meaning 'to scratch, or draw, write'.The Tate defines Graffiti art as a term that refers to ‘images or text painted usually onto abuilding, typically using spray paint’.Further background (into the types, techniques and history of graffiti art) can be found atthe following links:Definition - Graffiti Art: art.htmGraffiti Timeline - Graffitiknowhow.com: https://graffitiknowhow.com/British Council Article - Graffiti & Street 3Graffiti TermsTag: an alias or nickname or signature. The most basic form of graffiti ‘signature’ – usually onecolour/ one stroke version of a name.Throw-up: from one to a few letters, usually painted very quickly – no more than 2 or 3colours. Tag-like but with outlined or bubble letters.Piece: shorthand for “masterpiece”. More elaborate and intricate than a tag, large-scalelettering, typically multi-coloured.A "blockbuster" or "roller" - a large block-shaped work often made with a paint-roller - tocover a large area, (to stop other graffiti sprayers from painting on the same wall).Stencil graffiti: uses cut-outs to create complex shapes rapidly – by Blek le Rat and Banksy.Wildstyle: complex and elaborate graffiti writing/art with interlocking letters and connectingpoints, often with arrows, curves and letters - creating a more intricate "tag" or imageWriter: someone who paints or writes graffitiDogging: scrawling a tag or an insult over someone else’s piece on purpose.Hall of fame: an area of wall space where graffiti is permitted.
The word graffiti originates from the Italian 'to scratch' but also derives from Greek, meaning 'to scratch, or draw, write'. The Tate defines Graffiti art as a term that refers to images or text painted usually onto a building, typically using spray paint. Further background (into the types, techniques and
Ambit of Graffiti Sector Sources within ambit of graffiti sector: Anti-graffiti coatings to protect structures from graffiti, P i t d t ffitiPaints used to cover graffiti, Solvents and paint strippers used to remove graffiti, and Aerosol spray paints to produce graffiti. Sources outside ambit of graffiti sector: Portabl
intervention points, and select appropriate responses. Types of Graffiti There are different types of graffiti. The major types include: gang graffiti, often used by gangs to mark turf or convey threats of violence, and sometimes copycat graffiti, which mimics gang graffiti; tagger graffiti, ranging from high-volume simple hits to
The graffiti in our school is 7. The best way to stop graffiti in our school is 8. Graffiti is harmful because 9. Graffiti vandals are 10. To keep our schools and community beautiful as a student and citizen I should. Graffiti Teacher Guide 5 Lesson 2 - Mind Map
graffiti and other blight violations Volunteer to remove graffiti by hosting a community clean up Keep your own property graffiti free Take a free Neighborhood College workshop and learn how to use a paint sprayer or pressure washer to remove graffiti. Graffiti Buster Gary New
becoming a graffiti "hot spot." DPW's 28-CLEAN Customer Service phone line logged nearly 4,500 calls about graffiti in Fiscal Year 2002-03. In early 2003, DPW convened a 23-member Graffiti Advisory Board to advise the Mayor and the Board of Supervisors about pending anti-graffiti legislation, graffiti enforcement, cleanup and
had on graffiti and street art. I grew up in the graffiti scene in the 1980s and ‘90s. We had no technology in the way that we do today. No mobile phones, no internet. So, like many of us, I’ve lived through a transition where art forms like graffiti, and later street art – which emerged on the cusp
Graffiti created by students in "film school" are examined as an organizational document from a cultural and critical-cultural perspective. The graffiti serve as a critical discourse that reflects and creates meanings related to the sectional interests of film students. In so doing, graffiti create and reflect an ideology that is positioned
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