lee quinones\na brief history of graffiti\nart\nlee quinones\nlee quinones is a puerto rican artist who…

lee quinones\na brief history of graffiti\nart\nlee quinones\nlee quinones is a puerto rican artist who first gained recognition for his graffiti pieces\npainted on new york subway cars. born in 1960 in ponce, puerto rico, quinones later\nmoved to the lower east side of new york, new york, where he was raised. as a teenager\nin the late 1970s and 1980s, he started \tagging\ subway cars. at the time, graffiti was often\ndiscussed as mere vandalism. during that period, new york city was struggling through a\ntime of economic and political instability and was on the verge of bankruptcy.\n2\nnew yorks turmoil led to an era of white flight - a term expressing a mass exodus of\ncaucasians. many who remained were of black, latino, and asian communities. the work of\nquinones, like that of many street artists of his generation - most of whom came from black\nand latino, especially puerto rican, dominican, and cuban communities - was rooted in\nrevolutionary sentiments. it tended to touch on matters of race, class, and gender. the\nstreet art community was linked to subcultures in hip - hop, punk, and other new wave\nmovements, which used the streets as a forum for their own expression and discontent with\nthe status quo. quinones work, like the work of many great street artists, emphasized a\nsocial and political message of protest - through imagery, symbols, composition, phrases,\nand also through embracing materials and venues that were not considered appropriate in\nthe mainstream political or art scene. most of quinones early works survive only through\nsketches and instamatic photographs from that time.\n3\nin his early years, quinones often painted by moonlight. he used paint markers, spray paint,\n\nthis question has two parts. first, answer part a. then, answer part b.\npart a: which statement best reflects the authors point of view in \a brief history of graffiti art?\\na. the author is concerned about the movement toward more politically charged graffiti art.\nb. the author offers a passionate defense of graffiti art and its place in history.\nc. the author disapproves of graffiti art and the influence it has had on mainstream art.\nd. the author presents an objective, unbiased account of the history of graffiti art.\npart b: which detail from the text best supports your answer from part a?\na. historically, graffiti has been used to document historical moments, to advertise, to make a\npolitical statement, or simply to express oneself.

lee quinones\na brief history of graffiti\nart\nlee quinones\nlee quinones is a puerto rican artist who first gained recognition for his graffiti pieces\npainted on new york subway cars. born in 1960 in ponce, puerto rico, quinones later\nmoved to the lower east side of new york, new york, where he was raised. as a teenager\nin the late 1970s and 1980s, he started \tagging\ subway cars. at the time, graffiti was often\ndiscussed as mere vandalism. during that period, new york city was struggling through a\ntime of economic and political instability and was on the verge of bankruptcy.\n2\nnew yorks turmoil led to an era of white flight - a term expressing a mass exodus of\ncaucasians. many who remained were of black, latino, and asian communities. the work of\nquinones, like that of many street artists of his generation - most of whom came from black\nand latino, especially puerto rican, dominican, and cuban communities - was rooted in\nrevolutionary sentiments. it tended to touch on matters of race, class, and gender. the\nstreet art community was linked to subcultures in hip - hop, punk, and other new wave\nmovements, which used the streets as a forum for their own expression and discontent with\nthe status quo. quinones work, like the work of many great street artists, emphasized a\nsocial and political message of protest - through imagery, symbols, composition, phrases,\nand also through embracing materials and venues that were not considered appropriate in\nthe mainstream political or art scene. most of quinones early works survive only through\nsketches and instamatic photographs from that time.\n3\nin his early years, quinones often painted by moonlight. he used paint markers, spray paint,\n\nthis question has two parts. first, answer part a. then, answer part b.\npart a: which statement best reflects the authors point of view in \a brief history of graffiti art?\\na. the author is concerned about the movement toward more politically charged graffiti art.\nb. the author offers a passionate defense of graffiti art and its place in history.\nc. the author disapproves of graffiti art and the influence it has had on mainstream art.\nd. the author presents an objective, unbiased account of the history of graffiti art.\npart b: which detail from the text best supports your answer from part a?\na. historically, graffiti has been used to document historical moments, to advertise, to make a\npolitical statement, or simply to express oneself.

Answer

Brief Explanations:

For Part A: The text discusses how graffiti (like Lee Quinones' work) was used in social and political contexts (protest, expressing messages), which shows a politically - charged aspect. For Part B: The detail “social and political message of protest—through imagery, symbols, composition, phrases, and also through embracing materials and venues that were not considered appropriate in the mainstream political or art scene” shows that graffiti was used for non - mainstream, politically - related (protest) expression.

Answer:

Part A: A. The author is concerned about the movement toward more politically charged graffiti art. Part B: A. Historically, graffiti has been used to document historical moments, to advertise, to make a political statement, or simply to express oneself.