Write A 1000-Word Discussion Arguing Your Side Of The Issue

Write A 1000 Word Discussion Arguing Your Side Of One Of The Followin

Write a 1,000-word discussion arguing your side of one of the following topics: 1) Should graffiti be considered Public Art or Vandalism? 2) Should members of Congress have term limits? 3) Should the government have the right to force citizens to be vaccinated against diseases? 4) If having a military draft becomes necessary, should males and females be required to serve in the military? Do not write about any other topic.

Once you have chosen your topic, develop a strong thesis to indicate your belief about the subject. Then, following all the information you have read, write an argumentation discussion. There are several documents posted in the Weekly Modules to help you learn how to write the discussion. Also, use your textbook and your Writer's Reference. Remember that you must use at least 2 sources and they must be included in the text of your assignment and listed on your Works Cited page.

Additionally, complete all assignments and activities as instructed. Remember that this is an assignment based on opinion but using documented information, so do not use personal pronouns.

Paper For Above instruction

The debate surrounding the classification of graffiti—whether as an art form or as an act of vandalism—has been ongoing for decades and encapsulates broader questions about public space, artistic expression, and societal values. This essay argues that graffiti should be regarded as a legitimate form of public art rather than vandalism, considering its cultural significance, artistic value, and role in urban expression.

Historically, graffiti has roots that predate modern urban environments, dating back to ancient civilizations such as those of Rome and Greece, where wall paintings and inscriptions conveyed social messages and artistic expression (Lees, 2020). In contemporary settings, graffiti has evolved into a complex art form practiced by numerous artists who use walls and public spaces as canvases to communicate cultural, political, and social ideas (Balducci, 2016). Recognizing graffiti as art involves understanding its purpose beyond transient markings, valuing the skill, creativity, and intention involved in its creation.

One of the primary arguments in favor of viewing graffiti as public art is its cultural significance. Graffiti often reflects the identity, struggles, and aspirations of marginalized communities, giving voice to those who may feel disenfranchised by mainstream society (Curtis, 2009). Murals and stylized tags serve as cultural symbols and community expressions, fostering a sense of belonging and pride among residents. When cities commission graffiti murals or street art projects, they acknowledge its artistic and social contribution, lending legitimacy to the practice (Koh, 2018). Such recognition underscores the importance of respecting and protecting graffiti as an integral component of urban cultural landscapes.

Furthermore, the artistry involved in graffiti is comparable to other recognized art forms. Skilled graffiti artists employ techniques such as shading, perspective, and color theory to create visually compelling images that often rival paintings in galleries (Herscher, 1994). Notable artists like Banksy have achieved international acclaim, emphasizing the artistic merit and societal impact of street art (Klein, 2010). These examples demonstrate that graffiti can transcend mere defacement to become sophisticated artistic expressions capable of prompting reflection and dialogue. Thus, equating graffiti with vandalism dismisses the craftsmanship and intended messages embedded within these artworks.

Opponents of graffiti as art argue that many forms of graffiti are unsolicited and damage property, constituting vandalism. However, this perspective overlooks the importance of legal frameworks and urban beautification programs that enable street artists to create murals legally, transforming public spaces into galleries (Halsey, 2014). Cities worldwide, such as Philadelphia and Melbourne, have embraced street art districts to foster tourism and community engagement. By providing designated spaces for graffiti, authorities acknowledge its cultural value and reduce illegal vandalism, highlighting the potential for positive interaction with urban art (Wanczyk & Kyaruzi, 2020).

In conclusion, graffiti should be considered a form of public art rather than vandalism. Its roots in historical artistic expression, cultural significance, and the creativity of its practitioners establish its legitimacy. Recognizing graffiti as art fosters respect for urban cultural narratives and supports artists who utilize public spaces as their canvases. Transitioning from punitive measures to supportive policies can harness graffiti's potential to enrich cityscapes and promote social dialogue, ultimately affirming its rightful place in contemporary culture.

References

• Balducci, A. (2016). Street Art, Public Space, and Resistance. Urban Studies, 53(4), 827-841.
• Curtis, J. (2009). The Meaning of Graffiti: Transgression and Identity. Routledge.
• Halsey, M. (2014). Urban Art: A Dynamic and Expanding Field. Art Journal, 73(2), 24-33.
• Herscher, A. (1994). The Culture of Graffiti: An Analysis. Art Journal, 54(3), 28-34.
• Klein, M. (2010). Banksy: The Graphic Art of Street Art. Thames & Hudson.
• Koh, K. (2018). Street Art and Urban Regeneration. City & Community, 17(2), 323-340.
• Lees, L. (2020). The Roots of Graffiti: From Ancient Walls to Modern Streets. Urban History Review, 48(2), 150-165.
• Wanczyk, A., & Kyaruzi, A. (2020). Legal Art Spaces and Urban Growth. International Journal of Urban Planning, 35(4), 223-239.