Revise final essay

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Fix the following essay.

Write a 6-8 page essay on some topic related to the movie Exit through the Gift Shop.

Your essay must include a Works Cited page, which is not included in the page count of the essay.

You must have at least three scholarly sources.

You may not use Youtube, dictionaries, or any type of encyclopedia as part of your initial five sources. (You may use them in addition to five approved sources).


The attachment is the first draft of essay and the following picture are mistake need to be fix.

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Ho 1 Duy Ho Bill Lord ENG111/F13A 9 December 2018 Street Art Authenticity and Value What began as just a subculture on the New York streets around 1970 has become a popular form of art in the modern society. Graffiti or street art is currently aesthetically trendy in many parts of the globe. Many individuals in a contemporary culture are now more than ever concerned with the authenticity of street art. Authentic artwork is valuable and increasingly sought in the modern culture. It is no longer enough for a piece to be artistic or employ craftsmanship. The art has to be authentic for it to be valuable. As street art become commercialized, people are looking more on originality and individualism (Davis 30). This paper will explore the concept behind art authenticity and value as illustrated by the movie, “Exit Through the Gift Shop” by Banksy. Definition of Authenticity In order to understand the idea of authenticity in street art, it is important first to define the term. Authenticity is sometimes confused with sincerity. Sincerity can be described as an appreciation between actual and demonstrative feeling, which indicates a unique connection to others. It is simply about people's thoughts and feelings aligning with what they say. However, authenticity is being true and honest to oneself. Authenticity is an idea of self-reference (Fine Ho 2 154). In today's world, the perception of authenticity is a result of different factors that have impacted changes in recent years. Street Art: Authenticity, Public Acceptance, and Value In modern culture, street art cannot be avoided. It blooms across all fences, creeps along alleys, flourishes on street walls and in flyovers. In this age, it is not hard for someone to wake up to a Banksy on the wall of their building. The public perception of street art appears to be transformed. When the art started, it was viewed as moral decay due to its association with street gangs. However, it has now become an authentic culture. At first, people scrub the art when they found it on their walls, but currently, the first response is "is this thing worth something?". It appears that authenticity and commercialization of street art have played a significant part in its public acceptance (Davis 35). The internet is also an influence. The images often go viral. In many cases, images of pieces of graffiti online are picked up and adopted in other places. For instance, photos of Assad with a mustache similar to that of Hitler appeared online and was later seen in Gaza, Beirut, and Cairo (Irvine 40). Street art is ready availability across the world has informed the artists/ practice and public acceptance. A study conducted by Conklin shows that graffiti in many parts of the developed world is presently associated with enhancing urban neighborhoods’ economic conditions (30). Art areas like Brixton in London, attract more restaurants and cafes that also attract art loving people to come in. The graffiti also affects the prices of the buildings they are painted on. People now see graffiti as an indicator or vibrancy in an area. The authenticity of the art has impacted the public’s opinion of it. However, people are eager to accept the art’s authenticity. More people regard graffiti as a positive phenomenon. It seems to be more tolerated by the public than it was when it began during the 1970s. Ho 3 The Perspective of Banksy on Street Art Authenticity Banksy uses “Exit Through the Gift Shop” to contribute to the conversation about authenticity and street art. He is known as an original graffiti art's primary proponent since 1992. Furthermore, he is also known across the world for his hatred of people who label graffiti as "vandalism." In his film, Banksy focuses on Thierry Guetta's life, a Cameraman who meets him and later documents a significant portion of his work, with the aim of creating a film about graffiti art. However, as the movie progresses, it appears to change its direction as Guetta's later succeeds as a Banksy's copyist (Banksy). Eventually, via the use of unique scenes as well as the film’s characteristics, Banksy exposes the inauthenticity of the art that makes Guetta famous. In the opening scenes of the film, the viewer sees clips of artists creating art in the streets. This short attempt provides the viewer with a privileged view of the world, and the masked artists live in. The scenes also make the viewers feel the emotion and attitude of the street artists. These artists express themselves in a rebellious and public fashion. The scenes depict artists making paintings, spraying a train with paint and tagging. Banksy thinks that art's authenticity or lack theory has more to do with the motivations of the artist (Banksy). Different types of motivations drive various forms of graffiti. Street art cannot be controlled or understood, without comprehending the motivation that drove the artist. The artist's motivation separates graffiti from vandalism is therefore crucial when trying to understand the art. In the simplest form, graffiti is about pleasure (Young 300). It does not matter whether this pleasure is emotional or physical. Initially, street art's motivation included its shared peer activities and aesthetic appeal. Nevertheless, as the art progressed, its motivation started to include pleasure, pride as well as recognition. Eventually, graffiti art has become an "identity art." It broadly reflects the creator's motivation. Ho 4 By definition, street art appears to be an authentic art, and Banksy' movie aims to illustrate it as such. Guetta is seen as he begins filming street artists like "Space Invader" his cousin. Guetta documents the work of the street artists regularly and begins to follow other artists such as Shepard Fairey, commonly known for the Obama poster during the campaign. The narratives of real artists on the streets, who perfect the craft, emphasize Banksy's appreciation for other artists like himself (Banksy). He respects them for dedicating so much time to the development of their style and artistic expression. According to Banksy, the true self-expression, on the artist’s part makes it authentic. However, though Banksy is a strong supporter of the art’s authenticity, he questions the work of Guetta. Although the viewers enjoy the scenes of street artists in the movie, Banksy establishes a contempt atmosphere surrounding Guetta. Every time Guetta appears to push the camera into artists or celebrity’s face, the viewers cringe. Tacky music is heard playing as Guetta explains how he records and Banksy incorporates a testimonial from the wife of the videographer about how he privileges his films over the family (Banksy). As Guetta plasters all over his drawing holding the camera, copying Banksy's style and other artists he has been following, the viewers are overcome with uneasiness. It is not clear whether Guetta does this for self-expression or just fame. At this point, it Banksy's perspective becomes even more clear. Banksy also raises the idea of emotional motivations as an aspect of artistic authenticity. An example of this is Borf, a street artist interviewed by Guetta when the movie starts. Guetta explains that the art of Borf is a tribute to his late friend, and thus holds important emotional value (Banksy). According to Irvine emotions are an important depiction of self and are thus important in authenticity judgment (35). Social psychologists concentrate more on the role played by emotions in the authenticity discussions. Because of the main role played by self- Ho 5 knowledge in the revelation of the authentic self, emotions are viewed as passing important messages to the human cognitive mind concerning the true state of self. For the psychologists. The truthful view of instantaneous psychological reality acts as the basis of authenticity. In other simple terms, because emotions can be seen as basic indicators of identity and self, they are a reflection of authenticity. The pleasure emotion, the main motivation behind street work, speaks to graffiti art's authenticity. Even so, Banksy's perspective differs from this psychologists' opinion. Clearly, Guetta is emotionally motivated. He is driven by pleasure as he posts stickers and printouts that depict him holding his camera. Nonetheless, Banksy still thinks that Guetta's work is inauthentic. Banksy believes that the pleasure of an artist while creating an artwork does not speak to its authenticity (Banksy). There have to be other things that make the art authentic. Fine, in the article, “Crafting Authenticity” examines the effect of self-taught identities affect the artist’s work (170). He discusses how authenticity and originality are bestowed, and particularly, how personal legitimacy of the artist is utilized to support the aesthetic authenticity of the artwork in the cultural elites' minds. This concept is particularly referenced in association with the biography of the author. Fine indicates that a biography of the artists gives the art authenticity (Fine 160). However, the artist also has to be inspired and motivated. Closely linked to the inspirations and motivations of the artists are biographies' presentations. The biographies of artists who are self-taught, prove their authenticity, acting as the main evaluation criterion. The work itself is important because many individuals have fascinating biographies, but these biographies invest meaning with the material. In simple terms, the experience and biography of the artist, and not only the motivations, defines the authenticity of his or her artwork, and the background gives it meaning. The biography of Banksy and those of many other artists in the street, followed by the film, is Ho 6 lengthy. Nonetheless, the biography of Guetta is short. Before he started his work as an artist, Guetta was just a videographer, with a desire for artistic work, but currently, he has risen to prominence (Banksy). Guetta’s lack of experience in arts, is objected by Banksy, which he asserts is a crucial aspect of the identity of the artist and as such should be considered when judging the work’s authenticity. Eventually, Banksy feels that he has been cheated. It gets even worse as Guetta becomes more famous and opens a huge art show, making millions in a style he has developed within a short time. Although, the people showed in the movie do not seem to value authenticity. Currently, individuals respect authentic artworks. An enthusiast at the show highly praises Guetta for his work. Banksy says that sometimes people are eager to believe in the authenticity of art. Banksy sees Guetta as a sellout (Banksy). Like many artists in the modern culture, Banksy started as just a disloyal, while Guetta goes straight for the status of an icon such as Andy Warhol. At the end of the film, Banksy struggles with the concept of authenticity. He mentions that Guetta did not play by the rules, but then again, there are no rules in street arts. Sometimes ago, street art was illegal, even now in some places, it is still illegal. Due to the modern standards of the evaluation of art, individuals such as Guetta stifle the motivation and creativity of other street artists because they become famous so fast. Yet, their artwork is not authentic. Banksy has been questioning even his own art due to Guetta's fame (Banksy). He does not encourage artists anymore. Street artists also object to the commercialization of their art. They indicate that their art was not meant for sale. Currently, in protest to the growing market street art, artists are buying other artists work in order to destroy it. Conclusion Ho 7 The authenticity of the art is important both the public and the artists who make it. Banksy has influenced people to consider the authenticity of artwork and how they impact the livelihoods of artists. In a changing culture of fine arts where it appears as though many artists learn rules to bend them, it is important for people to assess their standards for evaluation of art, particularly in the context of their search for authenticity. The continued acceptance of this art will depend on acceptance of the art by the public. However, commercialization of the art may end up killing it in the long run. Ho 8 Works Cited Young, Alison. "Criminal images: The effective judgment of graffiti and street art." Crime, Media, Culture 8.3 (2012): 297-314.Print http://www.academia.edu/download/30417026/Young_2013_Criminal_Images_the_affec tive_judgment_of_street_art_and_graffiti_Crime_Media_Culture_Online_first_version_1 8_July_2012.pdf Conklin, Tiffany Renée. "Street art, ideology, and public space." (2012). Retrieved from https://pdxscholar.library.pdx.edu/cgi/viewcontent.cgi?article=1760&context=open_acce ss_etds Irvine, Martin. "The work on the street: Street art and visual culture." The handbook of visual culture (2012): 235-278. Print http://faculty.georgetown.edu/irvinem/articles/IrvineWorkontheStreet-preview.pdf Fine, Gary Allan. “Crafting Authenticity: The Validation of Authenticity in Self-Taught Art.” Theory and Society32.2 (April 2003): 153–80. http://web.b.ebscohost.com.eznvcc.vccs.edu:2048/ehost/pdfviewer/pdfviewer?vid=4&sid =dfff0b55-3318-4b2c-8762-cbc0b590cdaa%40sessionmgr120 Accessed 25 November 25, 2018 Davis, Lindsey. "The privatization of street art and the preservation paradox." Visual Inquiry 7.1 (2018): 29-43. http://web.a.ebscohost.com.eznvcc.vccs.edu:2048/ehost/detail/detail?vid=26&sid=10891 47a-5e67-49f9-bda2- Accessed 25 November 25, 2018 Ho 9 Exit Through the Gift Shop. Dir. Banksy. Paranoid Pictures, 2010. Netflix. Web. 5 December 2018. ...
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