Best Beautiful Examples of Light Graffiti Art

Best Beautiful Examples of Light Graffiti Art

Best Beautiful Examples of Light Graffiti Art

Best Beautiful Examples of Light Graffiti Art

Best Beautiful Examples of Light Graffiti Art

Best Beautiful Examples of Light Graffiti Art

Not so long ago, drawing became the new painting. From small-scale and intimate to wall-sized, highly-worked or resolutely low-fi; whatever its format, the re-appearance of a once side-lined medium marked a dramatic shift in its fortunes and indeed, assumptions about art in general.

But why the change? Was it that, in an art scene increasingly driven by fads, drawing became du jour simply because it hadn't been for a very long time? Or were other, less obvious factors at work?

In fact, the re-emergence of drawing was far from market-driven, and its increase in profile a far slower process than any newly voguish status might suggest.

To understand something of its current impact, it's necessary to look back at the closing years of the 20th century. A time when, to the eyes of many, the art scene looked very different indeed.

Throughout much of the 1990s visual austerity and a certain restraint governed the work of a new wave of artists; many of them British, many high-profile.

Figures such as Darren Almond, Damien Hirst, Martin Creed, Rachel Whiteread and a re-discovered Allan McCollum typified an art scene driven by hands-off, conceptual practice and stringent theoretical undertow.

Even artists whose work, by contrast, seemed more ludic and theatrical - Maurizio Catellan, the Chapman brothers, an ever-enduring Jeff Koons - shared a taste for slick, expensive, mechanized output. And in fact, looking back, there's a certain synchronistic poetry to the fact that Marc Quinn's 'Self' portrait, a principal icon of the era, quite literally froze the blood