Introduction of getting works done by has an individual

IntroductionArt can be many waysshowcased by artists as a song, or has an painting. Art is always been createdfor a purpose of a kind but being this has art being potrayed in  public gesture or an expression which isseemingly canvased at a section scale of society & global understandingthat has an artists, its their very duty to make sure their expression isundoubtedly recreational or social justice (bringing freedom of speech involvingas an citizen of nation), or conclusive, etc. as said about freedom ofexpression is of all kinds certainly artistic freedom of expression isfundamental. We should protect artist, by not defining an role or could be bygiving the margin of role to the individual artist as a defined by theircreativity. We have alternatives for various artistical ways of getting worksdone by has an individual artists aspect than making it into an capital foronly those who either require funding or in any manner of benefits than itsvery context of contemporary art evolving in 21st century of Indianhistory being paralyzed by various policies majorly involving political agendasto be depicted by the governing governments favour and not by its very conceptof beautification of city and allowed spaces which are meant for socialgatherings and refreshing experiences and which is actually being an promoterof tug of war to make sure an monomial statements which is making our towns andcities with our public being affected subconsciously to an doubtedpsychological space of belief where in people would be landing to inhuman bythe years to come by if we don’t change this way of misused freedom ofexpression.

 Origin of ArtMuchhas been written on the origin or ‘birth’ of art. Most of these articles andbooks are mainly or entirely concerned with the European cave art of the UpperPalaeolithic. The long-held view that modern human behaviour, including art,only began when Homo sapiens migrated from Africa to Europe around 45 000 yearsbefore present (BP) is based on the idea that there was a rapid evolutionarychange in the human brain and hence cognition at this time, which is referredto as the ‘Upper Palaeolithic Revolution’ (e.g. Bar-Yosef, 2002; see alsoreferences in McBrearty & Brooks, 2000) or the ‘Transition’ (e.g.Lewis-Williams, 2002). Human Evolutionand Art There is art in Australia, Asia, Europe andAfrica between 30 and 20 thousand years ago, prior to the 18,000 year climateperiod known as the Last Glacial Maximum.

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This indicates that art may haveaccompanied human groups generally as they expanded their range out of Africa.Anatomically modern humans probably existed 120,000 years ago in Africa.Anatomically kinda-modern humans are much earlier here and there in Africa.

Neanderthals, who were very modern in many ways, and modern humans (whoprobably get more credit than they deserve for being different fromNeanderthals) diverged about 500,000 years ago give or take a hundred thousandyears. Fully modern human brain size, for example, probably existed at over300,000 years ago. Certain aspects of stone tool technology that might (might!)signal human modernisms of some kind might date to 250,000 years ago or,depending on what is important, closer to 400,000 years ago.Thus we have several dates that are candidatesfor important aspects of modern humanness being in place: 500,000, 300,000,250,000, and 120,000. Then, we have a date by which art is assumed presentamong all humans: Call it 30,000. In between we have things like thescratched-up piece of Ochre from Blombos Cave. Somewhere in there … betweenseveral hundred thousand years ago and several tens of thousands years ago …the production of art as a feature of humans emerged.

Evidence for a pre-hominin origin of colorappreciation and enjoyment of the creative process Many captive chimpanzeesenjoy painting with color – their ‘art’ resembles the paintings that youngchildren make with pots of color applied with fingers or brushes. Congo, anexceptionally intelligent chimpanzee resident in London Zoo, was encouraged topaint by the zoologist ? anthropologist Desmond Morris in the late 1950s. What is Art?Leo Tolstoy, in his essay “What Is Art?”:Art is not, as the metaphysicians say, the manifestation of some mysteriousidea of beauty or God; it is not, as the aesthetical physiologists say, a gamein which man lets off his excess of stored-up energy; it is not the expressionof man’s emotions by external signs; it is not the production of pleasingobjects; and, above all, it is not pleasure; but it is a means of union amongmen, joining them together in the same feelings, and indispensable for the lifeand progress toward well-being of individuals and of humanity. Frank Lloyd Wright, writing in 1957, as cited in Frank LloydWright on Architecture, Nature, and the Human Spirit: A Collection ofQuotations: Art is a discovery and development of elementaryprinciples of nature into beautiful forms suitable for human use. The Greekphilosopher Aristophanes, writing in the 4th century B.C.

: Let each manexercise the art he knows.Assaid by previous notions the very aspect of art is to reveal an form ofco-existential dimensions of human being as travelled by their very knownperspective times or seeking towards an vision of future but, where as comingto impact of it on art which is scaled on macro level of city, shouldn’t  be delivering their own perspective of artand beautification through their only understandings onto the city scale itshould be well versed and keenly understood by the group of artists involvingthemselves to cities historical realms and primarily to cities historicalidentities , knowledge to be shared directly or to be made into an puzzled openstatement has da-Vinci paintings to avoid kiosks at times of agitations ofpublic because has an artists, it’s a very precise duty to be done in terms ofdelivering the idea of art to be made and making sure the art is safe at timesof agitations by not making where bold statements of revolt leading to perishby agitated public at times as we could see in our past of cities of India. As wecould see the images below which refers to city beautification in the name ofart and its culture being painted on walls of flyovers and underpasses withoutany fundamentals of drawing, it is very unlikely as an citizen to see thecities very essence of statement getting diminished by fellow painters drawingsome copied art which is available over internet and without any furtherthought or without any scrutiny of any committee by governing members and isgetting painted over walls of our cities by which it makes an statement ofpresent days art has an statement to be known to other side of world. Makingan random themed concept of art on city scale is going to affect the citizensof the societies and also the tourism gets a low profiled on by degrading thequalitative aspect of arts, beautification and its culture being depicted onwalls of cities in the name of wall art. As this art being publicly showcasedto public of all ages and nationality so their moral value and their emotionalbehavioural is at stake by artists depicting their expression of art whichwould be a subconscious change in the mood from normal to either sanity toinsanity if that’s not made to inspire many viewers viewing it and experiencingart in public spaces.Creating visual art is one of the defining characteristics of the humanspecies, but the paucity of archaeological evidence means that we have limitedinformation on the origin and evolution of this aspect of human culture.

Thecomponents of art include color, pattern and the reproduction of visuallikeness. Art, in its many forms, is practiced by almost all human cultures andcan be regarded as one of the defining characteristics of the human species. Inall societies today, the visual arts are intimately intertwined with music,dance, ritual (marking life landmarks, death, religion and politics) andlanguage (poetry, song and story-telling). Nevertheless, with the evolution ofhuman cognition, they were deployed in new ways, with complex symbolic meaningbecoming attached to them.Intention and perception:communication between artist and viewer Artdoes not exist in a vacuum but requires a social context, otherwise it ismeaningless. To be fully ‘seen’ by a viewer, there must be some awareness ofthe symbolism being communicated. The social context of humans has universalelements.

Painting with a conscious aim to portray symbolic content forcommunication with the viewer is inherent in the work of mature artists andtheir eye to see the future.The ideaof passing through a surface may be unfamiliar to Western adults but it is anormal part of our childhood world, in which children can pass through amirror, the back of a wardrobe, a wall at King’s Cross station, or a patch cutout of the air, to enter a realm in which animals can talk and children can fly(Carroll, 1872; Lewis, 1950; Pullman, 1997; Rowling, 1997). Finally, it isessential to remember to put aside the modern Western secular, scientific worldview and attempt to look through the eyes of an acute observer of nature, forwhom nature and the spiritual world are one and the same.

Looking at theChauvet paintings with this freedom of mind, one can see the whole gamut ofhuman emotions. Anger, aggression and conflict are embodied by powerful rhinocerosimages. One remarkable portrait, the upper animal in Fig. 12A, has three extrabody outlines and a total of seven anterior horns suggesting an animal tossingits head in a display of threat. Charcoaldrawings of rhinoceros and cave lions, suggesting (A) threat, (B) aggressivecompetition and (C) organized purpose(Chauvet cave, Arde`che; Aurignacian,_29000-32 000 BP).So aswe have seen the above citations and their expression and that which has beenmade on walls of caves in ancient times that very aspect made us know how ourancient human beings survived from dangerous carnivorous animals and learnedart of hunting likely we also could change our society in ways we could makeart as an inspirational to all beings to prosper humanity and to reciprocate theirpsychological affects to be in positive affirmations rather than makingunreasonable way of portraying just as an pigmented layers of paint on cityscaping and its beautification getting vaguely on some parts of walls to fulfiltheir minor agendas and not seeing the very impact of it on peoplespsychological conditioning towards art in these modern days which we should beprogressing with day to day life and keeping up nations pride up high.Streetart, an offspring of the global metropolis and a product of its socio-urbanfabric, has inevitably grown on, and been sustained by, urban architecture.Individual taggers and graffiti crews have proliferated in European citiessince the 1980s.

In the beginning, they mirrored their North American counterparts’socio-political preoccupations that were a product of deterioratingsocio-economic and socio-urban conditions in depressed sectors of metropolitanareas. In the early 1990s, however, with economic development and thebeginnings of urban regeneration processes came the first large-scale mutationof tagging into ‘graffiti art’. With larger and more recognizable works, andvisual rather than textual content, by the late 1990s graffiti was accepted byincreasingly broader sections of urban population as ‘street art’. A new formof public art, street art could claim a legitimate part in the forming andtransforming of urban identities in both their visual and their spatialiterations.Thecold, concrete walls of the spaces we inhabit have become living canvases.Crying out to be heard as though they have come alive with every spray of anaerosol can or smoothing of a sticker or poster, they act as reflections ofourselves and the cities in which we live. Blotches of color and the curvatureof thick black lines speak to us as the poetry of our time and illustrate thecultural climate and political commentary of our everyday lives. Theirmessages, too loud to be ignored, make looking down while walking nearlyimpossible and instead force us to lift our eyes and observe our surroundings.

Graffiti Vandalism?Street Art And The City: SomeConsiderations Graffitiis primarily a product of an urban environment that local governments need toengage with creatively, not merely take a strict zero tolerance approach whereengagement is seen as a diversion that hopes to tame a vigorous and diverseform of expression. This paper is in two sections. The first looks at graffitiand street art in the City of Melbourne within the framework of vandalism, alabel imposed upon it by local and state governments, sections of the media andgeneral public. It also attempts to give voice to those who are described asvandals by acknowledging their art form’s own histories. Melbourne support initiativesfor graffiti: TheCity of Melbourne will work with property owners, mangers and occupiers,graffiti writers, Victorian Police and local communities to investigateproviding legitimate avenues for murals and street art to be displayed. TheCity of Melbourne will engage with the arts community regarding murals andstreet art, for example, in conjunction with cultural festivals or artsdevelopment projects in the public domain. The City of Melbourne willpositively engage with graffiti writers in mentoring and arts programmes tofacilitate opportunities for legitimate artistic expression and to divert theirefforts away from illegal and towards high quality work.

Melbourne City Council(MCC) Graffiti Management Plan, 2006 The City of Melbourne sees legal work as adiversion from the illegal. It sees the funding of street art projects as a wayof hopefully curtailing the output of artists and restricting them tocouncil-sanctioned spaces, where the emphasis is on high-quality work. Butwhat is not acknowledged is that for an artist to be able to create such workthey must be experienced and, as in any other field where expertise isdemanded, there is an apprenticeship that needs to be served and a range ofskills developed before one becomes proficient and able to build up thepersonal style that is so often admired by pedestrians, train travellers andcouncillors alike. These skills, for a graffiti artist, are honed on thestreet, on trains and in railyards, and they often begin with tagging, targetedas the worst of what the council and many residents see in graffiti. It is justnot possible to divorce most street art from tagging; a form that also has itsown styles and levels of expertise. Norskapainting in legal Tunnel ProjectTheprincipal difference between legal street art and its illegal counterpart maybe neatness.

Legal art is done where permits are obtained, the artists areoften contracted, paint is usually purchased by the owner of the property orlocal council and the wall is worked on over consecutive sessions that have beendetermined in consultation with local businesses and people living in theimmediate vicinity. Illegal work is created under the pressures of, often,having to work at night, being aware that police or other authorities may haveyou under surveillance and working quickly (which graffiti artists do, withgreat skill and very conscientiously) to move on before one is possiblythreatened or arrested. This type of pressure and material restriction isalleviated in legal work, which enables artists to perhaps consider their skilllevels more minutely, or begin to think of the whole wall as one unit, a unitmade up of separate pieces still, but one that may be interconnected throughcolour choices or fill between the individual artist’s works.Time,and the ease of working during the day under proper health and safetyconditions with the support of local counsels or private property owners, givesa particular look to a wall. Pieces done illegally under often very tryingconditions make for a different aesthetic, not only because of the pressures ofthe occasion, but also, significantly, because the walls are developed under adifferent time, time that is chaotic. Inanother MCC-sponsored street art project (November 2007)  in Union Lane in the city centre, 540 squaremetres of legal walls were painted by more than eighty artists, fromadolescents to men and women in their late twenties, with varying skill levels.As of February 2008 very little tagging has been done over the work.

Mostgraffiti artists will respect the work of other artists, especially if thatwork is of a high standard. In the Tunnel Project, an artist, when leaving anunfinished work for the night, sprayed ‘respect’ on the wall to denote that itwould be completed soon and requesting that no one tag the space. The work wasnot damaged in between these painting sessions. There is also minimal taggingon the Union Lane project, most of which either raises issues about the work’slegitimacy or discusses the work’s quality.As anresponsible citizens we should stand for an fellow artists to create a venue orsanctioned space for legal wall art which has an concept of evolution of modernart also which could be a significant place to be painted by artists tomaintain an aesthetic sense of cities culture to be painted onto spacesprovided and deriving its very note from legal and illegal counterparts towhere and how the permits permitting the artists expressing their vision of citiesin artwork in public spaces sensibly.   Citybeautification at Hi-tech city flyover and Hitex roads painted with oilvarnished paints on trees and over ways and underpassesAs wecould see the local painters are painting the canvas of city scale into anpaintings in which much of their immature ways of talents without any proper knowledgeof art and its impact are been shown without having a sense of principle ofdesign, art, aesthetics and its fundamentals and without any marginal line oflimitations to paint and freedom in its ways has been annoying after ages offine arts being ahead of their times and we in present day society paintingworse than art and culture being represented by their early times. We hasan artist in twenty first century of contemporary art, living in society ofmodern era should be showing an evolution which could be seen through an eye ofan individual viewing it and able to understand it and get inspired by itconsciously or subconsciously.

We also have seen the art and painting workbeing done in two states namely Telangana and Andhra Pradesh and the citieswhere its very beauty of urbanization has been covered in the name ofbeautification of city and which is actually not making an statement of artjust painting an wall with underivative way of expressing art as painting orjust by giving to any amateur painter or an amateur craftsman to make theirindefinite statements in an cities beautification projects just for theirmaterialistic benefits by administration and that being effectively playing anmajor role of change in behaviours and attitudes towards art, beautificationand culture to psychological condition of children watching it and its betternot make an unrequired statements or being meaningless in the name of art. Asan artists and citizens particularly it’s our responsibility to see that we shouldrespect all children as an active, curious learner with ideas to communicatethe future that could astound with their tender minds.Thework of street art is painted as an national bird of our nation seems muchfiner than other artworks which were executed like painting over the landscapedtrees and not allowing the natures ecological footprints getting tampered andmaking an unnatural way of scaping land by painting over it and bringing theconcept of beautification to an nullified context of contemporary art exposureto public by doing so states that we re going from insanity to an illusive wayof dealing art to break the network cycle of nature in the name ofbeautification of city.

Conclusion             Art is discovering ourselves &projecting ourselves in the future. Art can change completely an moment, tounable an action, where there was a fear & many things can happen withpiece of art. Through the eyes of an artist we can actually repair to anreality that does not exist today or has already been in past with varioustraumas & sacrifices to get this point of discussing it and we can pictureit and which allows us to move forward. The very hope of art is in collectivelyof various forms, techniques, use of advanced tools with most advancedtechnology being used to make an art which is far more less mature than antoddlers of ages of initial human evolution of times and as art canvased overprimely momenta areas of cities its expression shall recognize &acknowledge by soothing peoples fears and to also see the emotional side or issomebodies pride on the line or anyone feeling embarrassed.Itsimpact on changing minds & perceptions. Imagination is creativity and hasan individual artist & in the context of evolution of art in public spacesis to showcase the heritage valued parts of city, or an nation or making anspace of expression of the trauma caused to the space where now (the present)is being open to all individuals.

Impact of street art and its valued impact onchildren should be encouraging to step ahead to paint and examine the way itmight be artistical aspect of future generations to view upon and know aboutour present days scenarios in one singular form. On a note we are in state of dilemmaabout art not being enough to be stated as and insufficient to be illegal asgraffiti.As anaudient perspective the beautification of street art in majority or truemeaning should be an space of art which could have limitations of marginalethics to citizen of the nation in which it shall not be crossing its line ofemotional content where in an individual feels unsafe or threatened by anymeans of art work that provokes neighbourhoods and could be endangering for art.There should be an commissioned advisory committee to make sure beautificationand cultured art is been appropriately made to be delivered on city walls asstreet art in cities that shall safeguard its bound advisory committeesdecision and be annually addressed to its very duty in preserving it on alonger periods of time effectively and impartially to the governing governmentsand see that art makes sense, adds creativity in peoples psychological behaviourin manner to make their citizens ahead of their times and getting bestcitizenship manners to inspire the living of self and neighbouring societies toget inspired by and live lives better artistically . ReferencesØ Leventis, P 2013 Walls of Crisis: Street Art and Urban Fabric in CentralAthens, 2000–2012.

Architectural Histories, 1(1): 19Ø  The Art of Invisibility Paperback – 14 Feb2017by Kevin MitnickØ  Understanding Human Behavior and the Social Environment(Empowerment) 9th Edition by Charles H. Zastrow,? Karen K.Kirst-Ashman Ø  The World Atlas of StreetArt and Graffiti-Rafael Schacte- September 3, 2013- ISBN: 9780300199420Ø  The Mammoth Book of Street Art Paperback – November27, 2012 by Jake Ø Subway Art Paperback – January11, 2016 by HenryChalfant (Author),? Martha Cooper Ø  https://www.brainpickings.org/2012/06/22/what-is-art/Ø  Frank Lloyd Wright, writing in 1957, as cited in Frank Lloyd Wrighton Architecture, Nature, and the Human Spirit: A Collection of QuotationsØ  https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2815939/pdf/joa0216-0158.pdfPg.: 1-19Ø http://www.smartbeginningsse.org/wp-content/uploads/2016/03/considerthewalls.pdf Pg: 1-5Ø https://www.bendoregon.gov/government/citizen-committees/arts-beautification-culture-commission