Myhre, Paul O. “Visual Art as Revolutionary Power: Street Art as Religious, Theological, and Ethical Declaration in Egypt’s 2011 Arab Spring.” ARTS, vol. 23, no. 4, 2012, pp. 20-36. EBSCOhost, ezproxy.gsu.edu/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=rfh&AN=ATLAn3786022&site=eds-live.
Paul Myhre elaborates on the sweeping sensation of street art as the twenty first centuries modern renaissance. As an honest reflection of the struggles and beliefs of the people surrounding the art, murals translate modern struggles with little regard for censorship of general opinion on global issues. Explicitly in relation to the Arab Spring of 2011, street art explodes during periods of political unrest; purposefully painted outside of galleries and art institutions these murals not only reflect societal disturbances but also integrate themselves into the built environment of the cities they are created within. This visual representation of political upheaval creates unity within a community to rally behind; in relation to political movements these art pieces not only function as objections themselves, but also as banners for communities to rally behind. This piece is relevant to my argument as it details the communal effects of art in urban settings. These murals become more important than the buildings they are painted upon, as they can establish ideas citizens within an area can relate and respond to. The art pieces become familiar to a community and provide a common ground for people who may not have shared anything otherwise.