Some People Say That Going to a Western Art Music Concert Is a Passive Experience

Audience Participation in Art and Blueprint

by Clara LaFrance | January 23, 2012

Banksy is a British graffiti artist and painter (the name "Banksy' is a pseudonym; rumors abound as to who the real Banksy is though none are confirmed). He is all-time known for his satirical, oft political stenciled designs in the U.1000. The best-known pieces are graffiti and therefore considered vandalism by British authorities. They're often scrubbed out as quickly as they're put up in an ongoing attempt to keep public areas free of graffiti, giving the pieces a feel of the ephemeral; it won't exist here long.

I'thou non going to fence about the validity, legality, or legitimacy of his work. What I'chiliad going to comment on is the inclusion of the audience every bit an integral part of his work.

Nicholas Hairdresser, a flick critic, writes about his own "Banksy Experience" here. The clarification of the piece focuses on his personal experience of stumbling across it, because its pregnant, its origin and its ephemeral nature. That'due south more to consider on a morn commute than a large latte.

Barber comments on the surprise and delight in "finding a Banksy," and this positive emotion is carried through and practical to the unabridged piece. The charmed surprise at the unlikely discovery, the question of actuality, the mystery of the psuedonym combined with the temporary nature (as British authorisation have come down on graffiti, which this, technically, is) makes the work quite alluring.

Why?

The viewer is expressly and specifically involved

Banksy'due south pieces often require the viewer to mentally make full in the gap. The viewer is an integral part of the piece; the action of stumbling upon the painting unexpectedly in the first identify is the very first stride in a Banksy piece. His pieces are scattered around the Uk, on street signs, on abased buildings, on bounding main walls. Finding one takes the viewer off-baby-sit; no i expects art on the way to piece of work in the morning.

A rat is stenciled in a universal No sign under the words No Stopping. The sign turns from a common traffic sign to a commentary on the nine-5 workers' rat race; the No symbol is now a rat exercise cycle.

Simple.

Or non.

Oftentimes, the piece relies on the commonality of the audition, of the collective consciousness.

What can nosotros have from Banksy's fine art equally artists ourselves?

Certainly I do non call up we should all commencement running around painting on all the walls in our hometowns under the cover of night. But I practice think that nosotros could all stand to consider the part of the audience in our work and the function that the audience can play. The viewer does non have to be passive. In fact, the viewer can be a very active role of fine art. How can nosotros, as artists, engage our audience to create an experience that the audition will call back and retain? How can we, as designers, create piece of work that leaves a strong and clear message?

Barber's description focuses on his personal experience, starting with the moment he sees the piece unexpectedly. The moment of unexpectedness is described as "lucking into a new artistic experience." Who wouldn't want their art described that manner? Past inviting the audience to close the visual gaps, we're including the audition in our process.

This piece uses white paper wrapped effectually trees to follow the horizon and blend in with to the greater backdrop of mountains or horizon line. What would it exist similar to come across this piece as a hiker?

Installation art invites the audience to literally take part in a piece, the audience IS the process. In this example, the process is the art; the serial of photos during the process is art, and the final 'product' is fine art, likewise.

This Yoga teacher created a flexible business card that requires the reader to twist it to read the contact information.

The Food writers' guild logo is reminiscent of the optical illusion of the vase and ii faces in the negative space. Not but does the viewer see a pen and so a spoon, merely makes the next spring of logic to connecting the symbols to the activities they each represent.

Each of these are clever or charming, and each ane leaves a distinct impression on the audition, because each one requires input from the viewer. By continually respecting the intelligence of your audience and leaving a small mental chore to be completed, you have continued with your audience. By not underestimating the audience, nosotros can all create brilliant and beautiful work.

Clara LaFrance is a freelance graphic designer when she is not pursuing her dreams as a circus teacher and performer. Clara has an 1000.F.A. in graphic design from Boston University.

If yous are interested in developing your graphic blueprint skills, Sessions College offers a range of graphic blueprint courses for students at all levels. Contact Admissions for more information.

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Source: https://www.sessions.edu/notes-on-design/audience-participation/

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