In “The Business of Getting UP,” Droney discusses the nature of street art, especially graffiti. This art form, he claims, on the one hand subverts corporate marketing and production while at the same time advertises for other brand name products. For instance, the classic graffiti tags on a bridge or a train car demonstrate an angst against those who have constructed them or operate them. These are also very visible. The visibility of a graffiti artwork is another mark of its distinctive nature. The train even allows street art to travel around different areas and gain maximum exposure.
The essence of Droney’s article, however, touches on the central issue that concerns us. That is, the power of resistance. In addition to a brief introduction to street art, he discusses the place of the artist. Artists in the graffiti world, namely in Los Angeles, promote themselves and even craft their own identity through their street art. In the sense described above, this still subverts the corporate norm and acts as a power of resistance. However, it replaces this power of corporations with the power of an individual and resistance as such. Don’t you see the power of my artwork, says the graffiti artist? Such subversion actually promotes an alternative to the corporation; it promotes the fame of the artist.
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Overall, I find Droney’s argument compelling. For instance, the piece of artwork found here < http://humansinmelbourne.com/uncategorized/rusty-graffiti-artist/> suggests that the artist wants to brand themselves and promote their own messages. These might speak against the corporation, but at the same time, they replace the corporation with an alternative authority and marketing. This paradoxical aspect to street art, Droney does not adequate pick up on. However, his points remain valid and strong in light of an initial assessment. Further thought, though, is required.
