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Rhetorical Analysis Of Street Art With Graffiti In Copenhagen

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“Although hundreds of thousands of individuals and groups promoting peace and justice now work across the world, the successes of the global peace network are rarely noticed.” (Wood) Additionally, the public who promote peace and justice are rarely noticed for their input to society. In the photograph titled, “Street Art with Graffiti in Copenhagen” by Shepard Fairey, follows the promotion of global peace and the protest against wars in the world. The image shows a painted mural, a former site of a youth culture center, on a seventy-foot-high wall with a dove in flight above the word "peace" and the figure "69". Also, at the bottom of the mural was graffiti painted over with "no peace" and "go home, Yankee hipster" by angry individuals, the youth culture center, who saw it as a propaganda provocation paid for by the city who tore down the youth culture center. Through Fairey’s photograph shows the importance of peace in the world. The photograph is hope that the public will follow with global peace. Fairey’s political mural is successful in conveying his …show more content…

The use of logic is presented when the angry individuals of the youth culture center wrote “no peace” in graffiti on the mural. The individuals wanted to make a statement about the truth of global peace. That “no peace” will ever happen. The angry individuals are proving a point by marking the promotion of global peace to the reality that it will never happen. Fairey agrees with the angry individuals when he collaborates with artists from the former youth culture center. Therefore, Fairey’s mural victoriously discloses his ideas through logos because Fairey distributes logic by displaying the truth of global peace. Thus, logos is seen by the audience when Fairey proves the certainty that global peace seems like a dream but a hope for something that is not

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generally treat the same as against the law lettering on cities walls, the criminalized dissertation of graffiti have its line and roots in 1970 to late 1980 nil broadmindedness Policies of New York . modern street art starts from there known as cradle of modern street art – city mayors where label graffitists. like vandal along with liable passageway crimes on writing somewhat than on underprivileged societal situation (Snyder,

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“No Trespassing.” It’s a message that we’ve all seen before, on street signs and on fences, but that most of us stopped considering as part of our daily lives. These signs just sort of blend into the background, no more noticeable than a crack in the sidewalk or a plain, solid-colored exterior wall. On the ordinary brown-painted brick backside of a bar in San Francisco’s Mission District, a bold, red No Trespassing sign is the center of a piece of thought-provoking street art. Below and to the right of the sign are some run-of-the-mill graffiti tags: pale yellow spray paint forming illegible words marking the territory of a gang or juvenile delinquent.

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