From the Street to Art Galleries : How Graffiti Became a Legitimate Art Form
In this article, I explain why graffiti was established almost immediately as a legitimate art form; unlike other hip hop expressive forms such as rap music or break-dancing. I examine the development of this graphic practice and consider the structural elements responsible for its transition from j...
Enregistré dans:
| Dans: | URI:https://journals.openedition.org/rrca, |
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| Auteur principal: | |
| Format: | Article ou chapitre numérique |
| Langue: | Anglais |
| Publié: |
Revue de recherche en civilisation américaine
2014
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| Sujets: | |
| Accès en ligne: | Accès Université d'Orléans et IFPM |
| Résumé: | In this article, I explain why graffiti was established almost immediately as a legitimate art form; unlike other hip hop expressive forms such as rap music or break-dancing. I examine the development of this graphic practice and consider the structural elements responsible for its transition from juvenile clandestine expressive form to artistic profession. I especially argue that institutional commentators (journalists, art critics, academics), as much as galleries owners and art sellers, were determining operators of graffiti’s symbolic transformation into a legitimate art form. |
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