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Graffiti: an art of identity and its critical discourse (1980-1985)

Research output: Chapter in Book/Report/Conference proceedingConference contribution

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Graffiti: an art of identity and its critical discourse (1980-1985). / Drakopoulou, Konstantina; Avramidis, Konstantinos.

Proceedings of the XXIII World Congress of Philosophy. Charlottesville, VA : Philosophy Documentation Center, 2018. p. 65-71.

Research output: Chapter in Book/Report/Conference proceedingConference contribution

Harvard

Drakopoulou, K & Avramidis, K 2018, Graffiti: an art of identity and its critical discourse (1980-1985). in Proceedings of the XXIII World Congress of Philosophy. Philosophy Documentation Center, Charlottesville, VA, pp. 65-71, XXIII World Congress of Philosophy, Athens, Greece, 4/08/13. https://doi.org/10.5840/wcp232018110

APA

Drakopoulou, K., & Avramidis, K. (2018). Graffiti: an art of identity and its critical discourse (1980-1985). In Proceedings of the XXIII World Congress of Philosophy (pp. 65-71). Philosophy Documentation Center. https://doi.org/10.5840/wcp232018110

Vancouver

Drakopoulou K, Avramidis K. Graffiti: an art of identity and its critical discourse (1980-1985). In Proceedings of the XXIII World Congress of Philosophy. Charlottesville, VA: Philosophy Documentation Center. 2018. p. 65-71 https://doi.org/10.5840/wcp232018110

Author

Drakopoulou, Konstantina ; Avramidis, Konstantinos. / Graffiti: an art of identity and its critical discourse (1980-1985). Proceedings of the XXIII World Congress of Philosophy. Charlottesville, VA : Philosophy Documentation Center, 2018. pp. 65-71

Bibtex

@inproceedings{702be2a6f41144f6b6d9f8e79422910f,
title = "Graffiti: an art of identity and its critical discourse (1980-1985)",
abstract = "Graffiti is an art of identity: individual, collective, ethnic and racial. From the disenfranchised poor sprang up the “ghetto youth” in New York in the 1960s. Many members of this marginalized youth attempted by inventing and putting into public circulation a new name, the tag, to assert their subjective presence, to disrupt the planned invisibility, to escape political exclusion and to force their violent daily experiences into public view. Graffiti writers also built inclusive communities, the crews, where they learned the value of both self and community, and developed collective identity based on collaborative work. Additionally, graffiti as a subcultural, vernacular art form was produced, for the most part, by racial and ethnic minorities. Therefore, our concern is to indicate this precise creole process that requires the ability to recognize the point where two cultures, the marginalized and the mainstream, meet. When graffiti entered the mainstream art world in the early 1980s, a critical discourse was informed that established writing as galleried “graffiti art”. The scope of this paper is therefore to examine the principles on which the critique was grounded; whether and to what extent the critical discourse was class and race colored; the numerous contradictions between and within the culture of writing and the culture of galleried art.",
author = "Konstantina Drakopoulou and Konstantinos Avramidis",
year = "2018",
month = jan,
day = "1",
doi = "10.5840/wcp232018110",
language = "English",
isbn = "978-1-63435-038-9",
pages = "65--71",
booktitle = "Proceedings of the XXIII World Congress of Philosophy",
publisher = "Philosophy Documentation Center",
address = "United States",
note = " XXIII World Congress of Philosophy ; Conference date: 04-08-2013 Through 10-08-2013",

}

RIS

TY - GEN

T1 - Graffiti: an art of identity and its critical discourse (1980-1985)

AU - Drakopoulou, Konstantina

AU - Avramidis, Konstantinos

PY - 2018/1/1

Y1 - 2018/1/1

N2 - Graffiti is an art of identity: individual, collective, ethnic and racial. From the disenfranchised poor sprang up the “ghetto youth” in New York in the 1960s. Many members of this marginalized youth attempted by inventing and putting into public circulation a new name, the tag, to assert their subjective presence, to disrupt the planned invisibility, to escape political exclusion and to force their violent daily experiences into public view. Graffiti writers also built inclusive communities, the crews, where they learned the value of both self and community, and developed collective identity based on collaborative work. Additionally, graffiti as a subcultural, vernacular art form was produced, for the most part, by racial and ethnic minorities. Therefore, our concern is to indicate this precise creole process that requires the ability to recognize the point where two cultures, the marginalized and the mainstream, meet. When graffiti entered the mainstream art world in the early 1980s, a critical discourse was informed that established writing as galleried “graffiti art”. The scope of this paper is therefore to examine the principles on which the critique was grounded; whether and to what extent the critical discourse was class and race colored; the numerous contradictions between and within the culture of writing and the culture of galleried art.

AB - Graffiti is an art of identity: individual, collective, ethnic and racial. From the disenfranchised poor sprang up the “ghetto youth” in New York in the 1960s. Many members of this marginalized youth attempted by inventing and putting into public circulation a new name, the tag, to assert their subjective presence, to disrupt the planned invisibility, to escape political exclusion and to force their violent daily experiences into public view. Graffiti writers also built inclusive communities, the crews, where they learned the value of both self and community, and developed collective identity based on collaborative work. Additionally, graffiti as a subcultural, vernacular art form was produced, for the most part, by racial and ethnic minorities. Therefore, our concern is to indicate this precise creole process that requires the ability to recognize the point where two cultures, the marginalized and the mainstream, meet. When graffiti entered the mainstream art world in the early 1980s, a critical discourse was informed that established writing as galleried “graffiti art”. The scope of this paper is therefore to examine the principles on which the critique was grounded; whether and to what extent the critical discourse was class and race colored; the numerous contradictions between and within the culture of writing and the culture of galleried art.

UR - http://www.athenscvb.gr/en/content/xxiii-world-congress-philosophy

UR - https://uk.linkedin.com/in/konstantinosavramidis

UR - https://www.eca.ed.ac.uk/news/phd-student-co-edits-book-graffiti-and-street-art

U2 - 10.5840/wcp232018110

DO - 10.5840/wcp232018110

M3 - Conference contribution

SN - 978-1-63435-038-9

SP - 65

EP - 71

BT - Proceedings of the XXIII World Congress of Philosophy

PB - Philosophy Documentation Center

CY - Charlottesville, VA

T2 - XXIII World Congress of Philosophy

Y2 - 4 August 2013 through 10 August 2013

ER -

ID: 15790546