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Graffiti or Street Art? Negotiating the Moral Geographies of the Creative City

Graffiti or Street Art? Negotiating the Moral Geographies of the Creative City :In cities such as Sydney, a succession of wars on graffiti has produced a moral geography of artistic practice. At the same time, the rise to prominence of creative cities discourses and the subsequent revaluation of creativity as a postindustrial salve unsettles the dominance of the normative criminalization of graffiti. The profusion of cultural plans and public art policies, along with metropolitan initiatives promoting the creative city, provide opportunities to resignify graffiti as productive creative practice. Set in a discursive world of murals, street art, and “legal graffiti,” some graffiti writers are grasping these opportunities, deploying multiple subjectivities in order to negotiate the moral geographies of the creative city. This article looks at contemporary state responses to graffiti in Sydney and the ways graffiti writers and street artists work within and beyond the various attempts to capture, enclose, and engage graffiti and graffiti writers. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Urban Affairs Taylor & Francis

Graffiti or Street Art? Negotiating the Moral Geographies of the Creative City

Journal of Urban Affairs , Volume 34 (2): 18 – May 1, 2012

Graffiti or Street Art? Negotiating the Moral Geographies of the Creative City

Journal of Urban Affairs , Volume 34 (2): 18 – May 1, 2012

Abstract

:In cities such as Sydney, a succession of wars on graffiti has produced a moral geography of artistic practice. At the same time, the rise to prominence of creative cities discourses and the subsequent revaluation of creativity as a postindustrial salve unsettles the dominance of the normative criminalization of graffiti. The profusion of cultural plans and public art policies, along with metropolitan initiatives promoting the creative city, provide opportunities to resignify graffiti as productive creative practice. Set in a discursive world of murals, street art, and “legal graffiti,” some graffiti writers are grasping these opportunities, deploying multiple subjectivities in order to negotiate the moral geographies of the creative city. This article looks at contemporary state responses to graffiti in Sydney and the ways graffiti writers and street artists work within and beyond the various attempts to capture, enclose, and engage graffiti and graffiti writers.

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References (56)

Publisher
Taylor & Francis
Copyright
Copyright © 2012 Urban Affairs Association
ISSN
1467-9906
eISSN
0735-2166
DOI
10.1111/j.1467-9906.2012.00610.x
Publisher site
See Article on Publisher Site

Abstract

:In cities such as Sydney, a succession of wars on graffiti has produced a moral geography of artistic practice. At the same time, the rise to prominence of creative cities discourses and the subsequent revaluation of creativity as a postindustrial salve unsettles the dominance of the normative criminalization of graffiti. The profusion of cultural plans and public art policies, along with metropolitan initiatives promoting the creative city, provide opportunities to resignify graffiti as productive creative practice. Set in a discursive world of murals, street art, and “legal graffiti,” some graffiti writers are grasping these opportunities, deploying multiple subjectivities in order to negotiate the moral geographies of the creative city. This article looks at contemporary state responses to graffiti in Sydney and the ways graffiti writers and street artists work within and beyond the various attempts to capture, enclose, and engage graffiti and graffiti writers.

Journal

Journal of Urban AffairsTaylor & Francis

Published: May 1, 2012

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