Rereading the Reality of Graffiti Based on Hegel’s Ideas in a Case Study from Banksy and Iranian Artists’ Works
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Abstract
Hegel’s aesthetics has great potential for reading socially generated, the artwork that reflect the spirit of their times. Because of, for him, artworks are animated by an internally purposive form. He believed artifacts can’t be regarded as a living being, in fact they have a given purposive with an external function, for example machine or shoes. Of course, we don’t forget that artwork is a production of an artist’s mind and specially his/her imagination and this is an inherently infinite possibility. Thus, we want to know the statue of graffiti from Hegelian perspective, especially since it is not a simple or a homogenous phenomenon, and also the relationship between content and form in it. For this reason, we selected some works of graffiti at random to describe and analyze in this qualitative research. Considering that art is one of the stages of Geist’s self-consciousness, this could be a way to understand the relationship between beauty, social protest and collective self-consciousness in graffiti works as a whole organic and as artworks not artifacts. Because their purposive and function is as internal dynamics.
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