All of my work has looked at subjects that have been marginalized in other disciplines or thought of as not serious, such as women, children, and pop culture. And one aspect that was very important to me about cultural studies was that it asks us scholars to take popular culture and the public seriously. When I was in graduate school, I was trained in historical materialism, the political economy of communication and media, feminist theory, and cultural studies. My PhD is in communication from the University of California, San Diego. However, the way in which it is authorized and enabled in the contemporary neoliberal economy is somewhat shifted from previous eras.What are some aspects of your scholarly background that you would like to share? Certainly, the distinction between the authentic and commercial is not new (indeed, Henderson calls it a ‘centuries-long standoff’ (Henderson 2008, p. Indeed, as part of revitalization efforts the penalty for graffiti in the city of New York during this period moved from a misdemeanour to a felony (Greenberg, Austin).Ĥ. In mathematical, political, criminal, and philosophical terms, street art is a subset of graffiti’ ().ģ. Street art is made in a number of mediums, including stencils, stickers, posters, paint, and sculpture.
On the website, dedicated to a ‘group conversation about street art and related topics’, they offer this as a definition: ‘Street art is art created in public places, often without permission. – that is clearly understood by its producers as art and not advertising. I define street art as art that is painted, stencilled, stickered or pasted on public spaces – walls, trains, fences, etc. I focus here on street art because the relationship between street art and advertising relies on some shared similarities, despite the varied differences between these aesthetic forms. It is beyond the scope of this essay to detail the differences between graffiti, street art, tagging, muralism, etc. The definition of street art varies depending on sources. For more on Shepard Fairey as a cultural entrepreneur, please see Banet-Weiser and Marita Sturken (2010).Ģ. The ‘explosion’ in street art in the early twenty-first century is well-documented in the 2010 Banksy film, Exit Through the Gift Shop.
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