Annotated+Bibliography

Springfield Township High School
 * Graduation Project Annotated Bibliography **

** MLA Citation: ** James, Gaddy. "Nowhere Man." //Print// Feb. 2007: 68. Print. ** INFORMATION: ** // Author’s credentials: // The author of this article, James Gaddy, is currently a writer for Interview Magazine, but has previously written for The New York Times, Details, Boston Magazine and many other newspapers and magazines. He eloquently references hushed locations of Banksy’s galleries and other inside information about the mysterious artist. With such credentials and distinction he is a valid author and reference for my topic. // Scope and purpose of the work: // This article illustrates the rise of the street artist Banksy, as well as raising theories of his conflicting new found fame to his humble beginnings. // Intended Audience: // Through his simple, yet sophisticated language in the text, it is clear that Gaddy was intending the broad range of anyone interested in art, street art, mysterious figures or new fame. ** SUMMARY ** // Thesis or main idea: // The main idea of this article is to give a background to the extremely successful street artist Banksy. Gaddy does an excellent job chronicling his rise to stardom, as well as bringing into question if he is breaching the popularity and fame that he wanted to avoid by being anonymous. Gaddy also describes the rising street art movement and Banksy's influential presence on the scene. // Summary of main arguments: // Gaddy begins the article by articulating how challenging it is becoming to see Banksy's latest gallery, because he is becoming increasingly popular. Embodying both mystery and rebellion, Banksy, the unveiled artist, had always intended to make people think about the world around them. However, has his increased fame and popularity done him in, as well as the street art movement? Celebrities flock to his exhibits and purchase his work for millions of dollars, when his original intentions for his work were to be seen from the sides of buildings. Gaddy also addresses the myth that Banksy embodies, and how his work as an artist bridges age as well as interest, and captivates the every-man walking down the street. By achieving this fame and elevation above the average street artist, Gaddy questions whether this will bring his career an early demise. ** EVIDENCE ** // Summary of evidence: // Gaddy eloquently uses evidence in the article in ways of supporting his broader thematic messages. He not only includes the dates, titles, and location of Banksy’s work from the beginning, but also includes BBC headlines and quotes from Time Magazine. He also quotes several fans, demonstrating that his opinion is one that is shared with many Banksy supporters and fans. ** EVALUATION ** // Evaluation of research: // Generally this article will help my research in that it highlights one of my focus artists that I plan to use to encapsulate the street art movement, but Gaddy also brings up insightful points of how Banksy is on a fine line between a rebel and a hypocrite. I feel as though the research put into this article was strong, for it included much textual support, as well as other opinions contrasting his own ideas. // Evaluation of scope: // On thing that does disappoint me about this article, is that it doesn’t give much information about street art, aside from how it highlights Banksy’s influence. Moving foreward I will need to find pieces that focus on other artists and the philosophy in general. But in terms of what this author was going for, it contained a broad reach between biographical information, opinion, and current news. // Evaluation of author bias: // The author seems to desire the 'unknown' and looks down upon the 'mainstream'. Evidently this article becomes biased when Gaddy states that be believes this is the end of Banksy's career, when those on the opposition may say that by achieving fame and popularity he is inspiring others and expanding his range of influence. Although he is somewhat biased, it does not hinder the facts of his early career and influx of fame. ** REFLECTION: ** I not only enjoyed reading this article because of its conversational and modern diction, but I found it very insightful to my topic, by looking at street art by its influence from Banksy. I feel like this article will be very important in my understanding of Banksy as an influential artist to the movement, as well as the threat of fame which may hinder their initial intention to lash out at pop-culture and rebel against conformity. Moving foreward I want to find pieces that encapsulate my topic in a broader sense, but as for specificity, I feel like I got a great understand of Banksy as an artist and myth. ** Annotation # 2 ** ** MLA Citation: ** Iverson, Jeffrey. "Street Art: Wonder Walls - Global Adviser - TIME." //Breaking News, Analysis, Politics, Blogs, News Photos, Video, Tech Reviews - TIME.com//. N.p., 16 July 2007. Web. 1 Mar. 2011. <http://www.time.com/time/special ** INFORMATION: ** // Author’s credentials: // The author, Jeffrey T. Iverson, wrote this article for Time Magazine in 2007. He is a freelance artist based in France, and generally writes pieces for the Time Magazine Paris Bureau, where he covers stories on French society often on culture and art, but also reports for wider TIME articles on topics of European or global relevance. // Scope and purpose of the work: // The purpose of this work is to give background to the Street Art movement, dating back to the 1980’s, to convey the significance and impact the French had. Not only supporting his opinion with important French painters, he makes comparisons to other art movements started by the French, but brought out by the Americans and English. He also lists several books and sources on where to read more about the topic, and he gives his brief opinion on each work. // Intended Audience: // There is no intended audience for this article, anyone who is interested in art, French culture or a combination of the two will find this piece interesting and easy to understand. ** SUMMARY ** // Thesis or main idea: // The ‘enormous leap’ street art has taken from ostracized to respectable may have been recently spurred by famous artist Banksy, but French artists such as Blek le Rat, Jef Aerosol, Miss Tic, Nemo and Jerome Mesnager already developed their brand of edgy, visual urban poetry. // Summary of main arguments: // Street art is part of the “zeitgeist” and is becoming more and more respected over the globe. But however successful the new artists might be, they should owe some of their accomplishments to French artists some twenty years ago. Iverson also brings up how this movement mirrors others before it, the Impressionist movement was not made popular by the French, but the Americans and British, just like the street art going on in the modern age. ** EVIDENCE ** // Summary of evidence: // Iverson does an excellent job in supporting his statements with a current voice, quoting Banksy on how he finds his work accidentally mirroring Blek le Rat, as well as working in opinions of professional art gallery owners, Anne Vignial, who linked the Impressionist movement to Street art. These quotes not only give strong evidence to the point he is trying to make, but it shows his success and reliability as an author by including other sources to give depth. ** EVALUATION ** // Evaluation of research: // This source is not only beneficial to my research by giving me a new opinion of the origin of this artistic movement, but it also supports me with great references I can look up to support my project. The article itself is well written and insightful, organized and concise. // Evaluation of scope: // Although Iverson’s main goal may have been to list several books by French street artists and give some insight on them, he does an excellent job in describing not only the history of this movement, but the future as well. Although he focuses mainly on the French side of things, this article has good depth and range of information. // Evaluation of author bias: // The author is a little biased in this piece, he is a French author, living in France, and he is writing about how important the French have been to the Street Art movement. However, it does not hinder the piece at all, and actually creates an interesting spin off of the little information I had on the background of this topic. This being said I would like to find other articles, not written by a Frenchman, who shares a similar opinion. ** REFLECTION: ** I consider myself lucky to have found this piece so early in my research. Not only does it support me with research in of itself, but it is actually supplying me with other sources. It is also great to see another persons interpretation of the movement, and to see that it is not at all limited to England or the Americas alone. I enjoyed reading this, and I hope I can find similar articles to this one in the future. ** Annotation # 3 ** Veltman, Chloe. “Street Art Moves Onto Some New Streets.” //New York Times// 9 May 2010: A25B(L). //Gale Opposing Viewpoints In Context.// Web. 2 Mar. 2011 ** INFORMATION: ** // Author’s credentials: // Chloe Veltman is a Bay Area culture correspondent for The New York Times. She has worked as both a staff reporter for The Daily Telegraph and as a freelance writer, and her articles have appeared on both sides of the Atlantic in such publications as The Los Angeles Times, The Wall Street Journal, The Economist, The Financial Times, The Guardian, Gramophone Magazine, Angeleno Magazine, Dwell, The Believer, BBC Classical Music Magazine and SF Weekly, where she served as chief theatre critic for five years. // Scope and purpose of the work: // The purpose of the article is to discuss the failure/success of an area in the Mission district of San Francisco where graffiti work has always been embraced as a sort of neighborhood pride. Not only does Veltman analyze the importance of street art acceptance and it becomes accepted as a fine art form, but she also illustrates that legally making street art detracts from what street art in of itself. // Intended Audience: // Her language would infer that the article could be read by anyone curious in the topic, since there is no required background knowledge the reader must know to understand the piece. ** SUMMARY ** // Thesis or main idea: // The main intention of this article was to inform the reader about the Mission district in San Francisco, an area where street art is comparatively embraced, where most places it won’t last long because it will be paint over. But generally Veltman focuses on how the Mission district has lost a bit of its edge because it is somewhat more structured compared to the freedoms of doing art anywhere illegally. Veltman also goes into depth talking about how San Francisco has always been a “fertile ground” for street art of both legal and illegal varieties. // Summary of main arguments: // The thesis Veltman puts out in her article is linked throughout each paragraph with consistency. She raises interesting dialogue about the difference between legal and illegal street art, murals and graffiti, and even brings into account projects that take once illegal vandals and connects them to established artists to work on mural projects. ** EVIDENCE ** // Summary of evidence: // Veltman cohesively links factual evidence of the dates and locations of certain works to beautiful language which paints the picture of the art she is describing right in front of you. Not only does this convey how much she knows about the topic, but how she has been to the location and has seen the art first hand. ** EVALUATION ** // Evaluation of research: // Veltman does an excellent job of encapsulating the area she is reporting on by giving the background on the influence murals had on the influence of street art. Not only this, but Veltman also analyzes the difference between legal and illegal street art, and how it may influence the purpose of the work. However, this article mainly focuses on the mural side of street art. // Evaluation of scope: // As broad as this article is, it mainly focuses on San Francisco murals/street art. It would be great if Veltman included some references to other locations and artists, but since the piece is solely centered on the one area in San Francisco, I don’t expect the article to expand much further than that. // Evaluation of author bias: // The author is not biased. She doesn’t really need to be. She’s giving history and two sides to a topic of the legalization of street art in some areas. So no, the article is not biased. ** REFLECTION: ** This article brought up some interesting points in my project, especially the difference between legal and illegal street art, and what is important to each. In the future I would like to select an article less focused on murals and more on //vandalism// but at the same time it was nice to get a different perspective. ** Annotation # 4 ** ** MLA Citation: ** Humber, Larry. “In From the Cold.” Globe & Mail [Toronto, Canda] 16 June 2009: R1. //Gale Opposing Viewpoints In Context.// Web. 2. Mar. 2011 ** INFORMATION: ** // Author’s credentials: // Larry Humber is a columnist for the //Globe & Mail// in Toronto, Canada, usually focusing on the Arts, and even creates some illustrations for the paper. // Scope and purpose of the work: // The purpose of this work was to raise a point of street art’s gaining popularity in the art world, and debating whether or not it is a positive or negative influence. Focusing mainly on street art exhibits and whether it is defeating the purpose of the idea of street art, Humber also brings into account influential artists whose work is going for large amounts of money. // Intended Audience: // Anyone who is interested in street art will have no problem understanding this article. Age, location, it all doesn’t matter. Humber does an eloquent job of detailing specifics, as well as encapsulating background and story information. ** SUMMARY ** // Thesis or main idea: // The main idea, or thesis, that Humber is trying to put out is whether or not it is a good thing for street art that it is becoming recently popular to celebrities and art collectors alike. Galleries now specialize in work that was once done at night in back alleys, and it is interesting to see the difference in opinion on whether or not ‘selling out’ defeats the original purpose. // Summary of main arguments: // Initially Humber begins his article by addressing how graffiti has become “the next big thing,” which is a topic that flows cohesively through the article. He consistently raises questions that would establish this popularity as good or bad, bringing up how gallery’s are establishing the movement as a definite art form, while at the same time they are making this “cult art” more inaccessible and expensive. ** EVIDENCE ** // Summary of evidence // Humber quotes insightful gallery owner Simon Cole, as well as dates and names which demonstrate his understanding in the field he is writing on. ** EVALUATION ** // Evaluation of research: // A good piece; focused yet narrative raises a lot of interesting points about street art and how it is defined and categorized in its increased popularity. Very thourough in his support and range of topics. Creative and captivating, intelligent, yet easy to understand. Very well written and interesting. I highly enjoyed reading it. // Evaluation of scope: // Generally focuses on the street art scene in Canada, but mentions a few other places too. Has a broad scope of opinions and artist philosophy. // Evaluation of author bias: // No bias. At all. He does an amazing job in surrounding the topic and making each side seem insightful. ** REFLECTION: ** Over all very helpful. It has brought new artists to my attention, as well as gave me supporting evidence to whether or not the popularity of the street art movement is a positive or negative thing. He also helps me wrap my head around topics and defines street art in an eloquent way. It is definitely a piece I will refer back to. ** Annotation # 5 ** Gonzalez, David. “Graffiti’s story, from vandalism to art to nostalgia.” //New York Times// 5 Feb. 2010: A189L). //Gale Opposing Viewpoints in Context//. Web. 2. Mar. 2011  ** INFORMATION: **   // Author’s credentials: //    David Gonzalez is a reporter on the Metro Desk of The New York Times. Over the years, his work has focused on the city's neighborhoods and how they reflect the larger social and cultural issues in American society.   // Scope and purpose of the work: //   The purpose of this piece to vocalize a new opinion about street art, through the eyes of a retired vandal. Gonzalez focuses mainly on the ‘old school’ graffiti art in contrast with the new to try to track its evolution. The artist in focus, Eric Felisbret, even grieves the lack of risk taking in today’s vandal world. // Intended Audience: // Anyone interested in street art. It would probably help if they new a little something about popular street artists in this day and age, but any sort of understanding of graffiti is just as good. There’s no real intended audience. ** SUMMARY ** // Thesis or main idea: // The main idea is illustrated in the title of the article. How while many people today see street art as a new sort of movement, many reflect on it as a form of nostalgia passed down over time. He also illustrates the origins of street art as an outlaw, to new mainstream respectability. // Summary of main arguments: // Gonzalez doesn’t do too much to raise arguments or different opinions, because his whole intention is to chronicle a retired vandal’s perspective. However, there are a lot of interesting ideas the artist Felisbret brings up to question, such as the importance of the internet in moving the art around, which is what old trains used to do according to Felisbret. He also addresses how risk is a big part of street art because it enforces the point you want to make or what you’re willing to sacrifice to make a name for yourself. In his opinion, doing art legally versus illegally doesn’t have the same impact. ** EVALUATION ** // Evaluation of research: // This paper is well written, well phrased, and demonstrates a superior understanding of the topic at hand. Not only does Gonzalez make reference to several street art websites that are all credible. This is a good source for my project. // Evaluation of scope: // The article doesn’t have to broad of a scope since it involves mainly one topic, but through that lens Gonzalez goes into depth of the significance of the change in direction for street art. // Evaluation of author bias: // The author didn’t have any bias. He was telling a story of one man’s perspective, so perhaps the man had bias, but the author didn’t sway the paper in one directin. ** REFLECTION: ** I really enjoyed reading this article because it gave the background of the less glamorous street art life, without galleries or profit. Where slipped through fences and darted among railroad tracks. It brings back the focus to what street art really is at the end of the day; vandalism with a purpose, be it that purpose selfish or selfless. ** Annotation # 6 ** Levin, Robert. "Coolest museum? The street - am New York." //am New York//. N.p., n.d. Web. 2 Mar. 2011. <http://www.amny.com/urbanite-1.812039/coolest-museum-the-street 1.2791579>. //Scope and purpose of the work:// The purpose of the work is to inform the reader about the street art movement and five important street artists over the scope of the past 40 years in New York City. //Intended Audience:// The intended audience is anyone who is interested in street art, influential street artists, or the cityscape in New York City. This piece is also good for people who want to learn about different styles of street art. //Thesis or main idea:// The main idea of the article is to look at “five notable examples of street art, past and present, and the artists responsible for them.” These artists or pieces are El Sol 25, Toynebee Tiles, Obey Giant stickers, Cost Rev Tags and NohJColey. The article goes into depth explaining the intentions of each artist in their work and what the pieces look like. //Summary of main arguments:// The first part of the article addresses how street art has changed the city’s streetscape. Levin says “ If you want an authentic taste of the New York street-art world, walk through the city with your eyes open and your brain turned on. You never know what you might find”. Another important quote in the article comes from Jake Dobkin, publisher and co-founder of Gothamist, who says "Street art isn't always great, but it's usually authentic - it was created by an artist motivated by love and passion, not the grinding pursuit of wealth and fame”. This quote is not only truthful but embodies what street art is all about. The other five sections go into depth about the 5 various artists. El Sol 25, specializes in handmade, hand-painted composites of people that can be found on doors or walls. He incorporates a wide scope of images so that the viewer is kept staring at the eye-popping combinations, no matter what response they evoke. Toynbee Tiles can’t be categorized in the graffiti world or the art word, instead inscribes a cryptic message on mysterious tiles in NYC since the late eighties. Obey Giant stickers are a creation of street artist Shepard Fairy who has plastered them across the United States since the 1990s. Cost Rev tags, created by graffiti artists Revs and Cost, fill the city with their ever-present wheatpaste stickers and outsize block-letter tags that cover sides of buildings. They are quoted by saying “We want people to say, ‘What the hell is going on’” in 1993. NohJcoley creates cyborg people ‘popping with symbolism’ with backstories of their own. //Summary of evidence:// The author Levin has a great deal of quotes and supportive information that help him vocalize his points with accuracy and support. He also speaks of the work with imagery and description which interests the reader and creates the picture of the art in their head. //Evaluation of research:// In this article Levin articulates his point with a great deal of support. This piece is also very helpful to me in that it supports my research with information about my topic as well as important artists in New York. He makes great refrences to pop culture to enforce his points as well, including a reference to Girl Talk to describe one piece of work, which is a band notorious for its mix and match style. //Evaluation of scope:// Levin in very broad in his scope of artists in NYC, encompassing all different genres and styles of art over the past sixty years. He does an excellent job in including information about each artist and gives great background information in the beginning of the article. //Evaluation of author bias:// The author is unbiased in this paper, he reports each artists work without any hint of prejudice or lean. I enjoyed reading this article and it helped me understand different types of street art instead of stencil or graffiti alone. It also gave me artists to look up and research more. The quotes it supported me with will also be really helpful later on in my project. ** Annotation # 7  ** ** INFORMATION: ** // Author’s credentials: // The author is Richard Jinman, a writer for “The Sydney Morning Herald,” which is a paper chronicling the news of Sydney, Australia, and the world. I am unaware of the other newspapers Jinman writes for, but this paper is entirely credible. // Scope and purpose of the work: // The purpose of the work is to report on the newly completed collection of contemporary art in the National Gallery of Australia, in Melbourne. Jinman also sets out to encapsulate the excitement about this endeavor and the positive reaction they are receiving everywhere. // Intended Audience: // Anyone would be able to read this article, since it gives a good summary of street art and includes a quote from a child who went to visit the museum. This article is not intended for a set group of people. ** SUMMARY ** // Thesis or main idea: // The main idea, like state in the purpose of this work, is to really report that spray-on art work has joined the national collection in Melbourne. The gallery views the stencils as a natural addition to its print collection, which also includes Australian political and social posters, which is similar to the paintings because they are both “a means of getting an image out cheaply and effectively.” // Summary of main arguments: // However, the article doesn’t only focus on the gallery, for the other half addresses what is going on in the streets of Melbourne with regards to street art. Part of the dilemma is that the city wants to conserve the street art on building which is recently attracting tourists. The proposal for “tolerance” zones was rejected however, but still may come up again in the future. There is a divergence in people’s opinions of the artists as well, while many value as esteemed members of the street art community, creating works of art, others say there is no cultural value to what is being done, and that those creating it are just “mongrels and scallywags”. All in the same, another point is raised at the end of the paper, reiterating that street artists by their nature, don’t look for validation from national galleries or the government. ** EVIDENCE ** // Summary of evidence: // Well, throughout the paper Jinman quotes the gallery’s curator, Victoria’s police minister, Melbourne city council, and the founder of Citylights, a public art project showing work on wall-mounted light boxes in laneways. Evidently all of these sources demonstrate a wide variety of opinions and reports of their own experience on this topic. ** EVALUATION ** // Evaluation of research: // The article is very successful in its insight because it shows the amount of research the author put in to composing this report. He greatly understands the multiple viewpoints, as well as the names of many of the different artists featured in the gallery. // Evaluation of scope: // Jinman does an excellent job in maintaining a wide ray of opinions on the topic, while still maintaining the aspects that make it an informational reporting piece. He covers a great length of topics, and supports each with his research. // Evaluation of author bias: // There was no author bias in this paper, because it is essentially a report of others opinions. There is an equal balance of positive and negative opinions, but perhaps the tone of the paper is overall positive. ** REFLECTION: ** This piece will be extremely helpful in my research and has generally really helped me get a broad view of the up and coming fame of street art. It is definitely a piece I will refer back to because it was insightful in its analysis and creative in its approach. It also helped me understand the opposition’s opinion of the issue. ** Annotation # 8 ** "Graffiti goes Upmarket." //The Age//. The Age, 16 Aug. 2003. Web. 2 Mar. 2011. <www.theage.com/au/articles/2003/08/13/1060588454223.html>. ** INFORMATION: ** // Author’s credentials: // The author is unknown, but they have reported to The Age which is a newspaper/website that has the latest local news on Melbourne, Victoria. // Scope and purpose of the work: // The purpose of this article is to speak mainly about stencil graffiti, what it is, and how it is influencing the art today. The author is chiefly interviewing a 25 year old street artist, dlux, who tells his story of how he became interested in street art, what street art means to him, and the difference between high art and street art, and more specifically, stencil art. // Intended Audience: // The author’s language implies that the article could be read by anyone interested in the topic, since there is no required background knowledge the reader must know to understand the piece. It is also very thorough in its description of a topic from beginning to end ** SUMMARY ** // Thesis or main idea: // The main idea of this article is to talk about graffiti art and stencil art, describe what it is about, how it is created, and what it means in depth, especially in recent years where it has begun to achieve a high art status. // Summary of main arguments: // ‘dlux’ makes a variety of interesting statements that raise supportive points to stenciling graffiti. He says, “[s]tenciling is graffiti in the legal sense of the word, but it’s not graffiti in the cultural sense of the word,” implying the deeper intentions that street artists have, to articulate a point and address topical issues of the time. He also distinguishes the difference between normal graffiti and stencil graffiti, “as an extension…which has a particular interest to both the arts and corporate world”. When he says corporate world, he raises another subject which he addresses later on, how street art challenges corporate logos in that they create images that are filled with information that can be repeated multiple times. ** EVIDENCE ** // Summary of evidence: // The author cohesively links factual evidence of the dates and locations of certain works to accurately describe the art he is describing right in front of you. Not only does this convey how much he knows about the topic, but how she has been to the location and has seen the art first hand, which adds a certain amount of character to the article. ** EVALUATION ** // Evaluation of research: // The author works for a reputable newspaper, so done his fair share of the research necessary to cover the topic. He quotes recent books, other artists, and even street art gallery owners to get his point across. // Evaluation of scope: // The scope of the piece is pretty broad, I would say, since he talks about street art in galleries, street art’s origin, and street art as a movement in the art world. Although the piece may circle around Melbourne, in no way is it only about Australia. // Evaluation of author bias: // The author is a little biased in this piece, since he has really only mentioned the positive things about street art, but still, he is reporting from chiefly own perspective anyway. However, it does not hinder the piece at all, and actually gives me more depth to some of the sources that speak on the same topic. ** REFLECTION: ** This piece has been really great of a find, since it vocalizes how the street art movement isn’t limited to the western world, but is happening all over the globe. This piece also gave me several quotes which helped me understand the topic and support my already growing understanding of the topic. I would say this has been one of the most interesting and supportive articles I have read so far, since it covers so many topics. ** Annotation # 9  ** "What is Street Art? Vandalism, graffiti or public art- Part I | Art Radar Asia." //Art Radar Asia | Contemporary art trends and news from Asia and beyond//. N.p., 21 Jan. 2010. Web. 15 Mar. 2011. <http://artradarjournal.com/2010/01/21/what-is-street art-vandalism-graffiti-or-public-art-part-i/>. ** INFORMATION: ** // Author’s credentials: // <span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: black; font-size: 12pt;">The author is anonymous. However, the article was published in //Art Radar Asia//, which chronicles contemporary art trends and news from Asia and beyond. //Art Radar Asia// is a credible source because they have a team of professional editors, authors and contributors who have similarly wrote for prominent publications such as the BBC and Time Magazine. // Scope and purpose of the work: // The purpose of the work is to directly address the question of what is street art, if it is vandalism or illegal, and then to give a brief summary about the different mediums of street art. The scope of this piece generally encompasses all of the street art movement, be in humble beginnings in graffiti to the different opinions of those consider it art, versus those who simply believe it is a nuisance. // Intended Audience: // This article is intended for anyone who shows an interest in street art, as well as those who may not know much about it, since the article spans the beginning and all types of street art that fit into several categories. The author does an excellent job of going into detail without seeming repetitive in their classification of their information. ** SUMMARY ** // Thesis or main idea: // The main idea of this article was to inform readers about street art in urban settings around the world, and enlighten those who were confused about what street art really is. The article then goes on to address whether or not street art is considered vandalism or whether it is illegal. Moving more into depth, the piece then addresses criminologist theories on why street art is popular, as well as confronting the gentrification of street art in recent years. Finally the article is concluded through careful definitions of each form of street art, ranging from traditional to wood blocking. // Summary of main arguments: // Since this article encompasses such a large array of topics, each add interesting depth the scope of Street Art itself. The author incorporates different opinions into the questions of whether or not street art is vandalism, but when addressing the legality of the movement, they state that the main distinction is whether or not the piece was permitted to use the space it was applied to. The article also raises the negative affects of street art which are very important to my research, since it is an area that is not always highlighted. It addresses the affects of vandalism in urban communities, in that it promotes more vandalism, the “Broken Window Theory” as well as the gentrification of lower class neighborhoods. ** EVIDENCE ** // Summary of evidence: // This article could have shown more sources to support his or her information, but they generally do a good job in citing art directors, criminologists and Time magazine. Overall, this piece shows depth in research and understanding of the topic through the evidence they encapsulate into the article. ** EVALUATION ** // Evaluation of research: // This paper is well written, well phrased, and demonstrates a superior understanding of the topic at hand. Through small excerpts of quotes from supportive sources, the author establishes that not only he or she know a lot about the topic, but that they know enough to define the topic in their own words. // Evaluation of scope: // The scope of this piece generally encompasses all of the street art movement, be in humble beginnings in graffiti to the different opinions of those consider it art, versus those who simply believe it is a nuisance. So overall, this article gave a very broad range of information on this issue. // Evaluation of author bias: // The author was not biased. They took an open minded stance on the issue and brought up different opinions on the issue. So no author bias. ** REFLECTION: ** Originally I was skeptical whether or not this would be a credible source, but it has turned out to be very useful in not only summarizing the specific types of street art, but raising interesting topics of the negative affects of street art in communities. Each will be influential in my report, and the whole article helps me understand street art in a broader sense. ** Annotation # 10  ** Joseph, Nygard. "Graffiti and Street Art: A Brief History - Associated Content from Yahoo! - associatedcontent.com." //Associated Content from Yahoo! - associatedcontent.com//. N.p., 3 Jan. 2008. Web. 17 Mar. 2011. <http://www.associatedcontent.com/article ** INFORMATION: ** // Author’s credentials: // <span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; color: black; font-size: 12pt;">The author is Joseph Nygard, a writer for Associated Content, as well as a veteran from the war in Afghanistan. The AC is an online publisher and distributor of original content, which enables anyone to publish their content on any topic and distribute that content through its website and content partners. // Scope and purpose of the work: // The purpose of the work is to illuminate the background of street art and graffiti, from its presence from the dawn to man, to the start of the street art movement back in the 1970’s. Focusing greatly on the influence of street taggers in NYC in 1970’s, Nygard uses that as a jumping off point in explaining the rest of the movement. // Intended Audience: // This article is intended for anyone who shows an interest in street art, as well as those who may not know much about it, since the article spans the beginning of street art and sets out to give the background to this misunderstood subject. ** SUMMARY ** // Thesis or main idea: // The main idea of this piece is to literally give a brief history of Graffiti and Street Art in the modern world. Nygard accurately chronicles the names of the very first taggers, to those who first displayed their works in galleries. Generally this article wants to articulate how far street art has come, but all the while, not changing to much since its humble beginnings. // Summary of main arguments: // Nygard does an excellent job of chronicling the past and present of street art, from its origins ranging from the ruins of Ancient Greeks, Mayans, pioneers on the Oregon Trail, and even Napoleon soldiers, which supports his subconscious claim that a lot of graffiti is about fame and being remembered. Then moving on to modern day graffiti and its influence from hip-hop, Nygard then vocalizes how graffiti as we know it started back in New York City where people chose ‘tag’ names to avoid the police. Nygard ellaborates on the lengths the artists took to make their tag names popular, and then towards the end of the article he summarizes the fame that has recently been achieved and how it is affecting the street art community. Nygard does an excellent job in encapsulating all that should be known about the history of the movement. ** EVIDENCE ** // Summary of evidence: // Nygard doesn’t show as much evidence in the form of quotes as he could, but he does prove he knows the subject through his accuracy in date, time and location of several important events and names. ** EVALUATION ** // Evaluation of research: // This article helps a lot with my understanding of the background and the relevance of street art to culture. The author also proves he has researched the topic through his conscience language and understanding of the topic at hand. // Evaluation of scope: // I would say that this paper articulates a wide scope of information, including the entire span of street art. Very broad, and very helpful. // Evaluation of author bias: // The author is unbiased towards the subject. ** REFLECTION: ** This article will help me a lot with my understanding of the background and importance of the street art movement. Hopefully now I may be able to find other sources similar to this that will highlight why street art is so popular and why it has been around for so long.
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