Placing post-graffiti: The journey of the Peckham Rock

Cultural Geographies

Volumn 15, Issue 4, 2008, Pages 471-496

  Dickens, Luke ^a  

^a UNIVERSITY OF LONDON   (United Kingdom)

Author keywords

Art; Banksy; City; Graffiti; Post graffiti; Urban inscription

Indexed keywords

EID: 85031049420     PISSN: 14744740     EISSN: 14770881     Source Type: Journal    
DOI: 10.1177/1474474008094317     Document Type: Article

References (201)

1. M. Keith, ‘Tagging the city: graffiti practice and transcultural communication’, in M. Keith, After the cosmopolitan: multicultural cities and the future of racism (Oxford, Routledge, 2005)
2. N. Macdonald, The graffiti subculture: youth, masculinity and identity in London and New York (Basingstoke, Palgrave Macmillan, 2001).
3. K.L. Adams and A. Winter, ‘Gang graffiti as a discourse genre’, Journal of sociolinguistics 1 (1997), pp. 337–60
4. S. Bandaranaike, ‘Graffiti: a culture of aggression or assertion?’, paper presented at The Character, Impact and Prevention of Crime in Regional Australia Conference, Australian Institute of Criminology (2001)
5. D. Ley and R. Cybriwsky, ‘Urban graffiti as territorial markers’, Annals of the Association of American Geographers 64 (1974), pp. 491–505.
6. J. Austin, Taking the train: how graffiti art became an urban crisis in New York City (New York, Columbia, 2002).
7. I. Borden, ‘Another pavement, another beach: skateboarding and the performative critique of architecture’, in I. Borden, J. Kerr, J. Rendell and A. Pivaro, eds, The unknown city: contesting architecture and social space (Cambridge, MA, MIT press, 2002), pp. 178–99
8. K. Iveson, ‘The call to the streets II: London’, Graphotism 27 (2002)
9. K. Iveson, ‘Making a name: writing graffiti in Sydney’, in K. Iveson, Publics and the city (Oxford, Blackwell, 2007), pp. 112–47
10. D. Makagon, ‘“Got Meat?”: guerrillas and the art of aggravation’, Text and performance quarterly 20 (2000), pp. 203–14.
11. T. Cresswell, ‘The crucial “where” of graffiti: a geographical analysis of reactions to graffiti in New York’, Environment and planning D: society and space 10 (1992), pp. 329–44
12. T. Cresswell, In place/out of place: geography, ideology, and transgression, (Minnesota, University of Minnesota Press, 1996)
13. T. Cresswell, ‘Night discourse’, in N. Fyfe, ed., Images of the street (London, Routledge, 1998), pp. 268–79
14. L. Nandrea, ‘“Graffiti taught me everything I know about space”: urban fronts and borders’, Antipode 31 (1999), pp. 110–16.
15. A. Amin and N. Thrift, Cities: reimagining the urban (Oxford and Cambridge, Polity, 2002)
16. L. Dickens, ‘Finders keepers: performing the street, the gallery and the spaces in-between’, Liminalities 4 (Special Issue on ‘The City’) (2008), pp. 1–30
17. W. Hung, ‘Zhang Dali’s Dialogue: conversation with a city’, in C.A. Beckenridge, S. Pollock, H.K. Bhaba and D. Chakrabarty, eds, Cosmopolitanism (Durham, Duke University Press, 2002)
18. D. Pinder, ‘The arts of urban exploration’, Cultural geographies 12 (2005)
19. S. Smith, ‘Graffiti’, in S. Pile and N. Thrift, eds, City A-Z (London, Routledge, 2001), pp. 86–9.
20. Austin, Taking the train, pp. 38-74 passim
21. Cresswell, ‘The crucial “where”’ and In place/out of place; Ley and Cybriwski ‘Urban graffiti as territorial markers’
22. S. Powers, The art of getting over (New York, St. Martin’s Press, 1999).
23. M. Cooper and H. Chalfant, Subway art (London, Thames and Hudson, 1984)
24. C. Ahearn, Wildstyle (VHS, 1983)
25. H. Chalfant and T. Silver Style wars (VHS, 1983)
26. H. Chalfant and J. Prigoff, Spraycan art, (London, Thames and Hudson, 1987).
27. BBC News Online, ‘Animals sprayed by graffiti artist’, 18/07/03. Available at: http://news.bbc.co.uk/2/hi/entertainment/3077217.stm.
28. Cresswell, ‘The crucial “where” of graffiti’
29. P. Haban, Basquiat: a quick killing in art, 2nd edition (London, Penguin, 2004).
30. R. Blackshaw and L. Farrelly, Scrawl: dirty graphics and strange characters (London, Booth-Clibborn, 1999)
31. R. Blackshaw and L. Farrelly, Scrawl too: more dirt (London, Booth-Clibborn, 2001)
32. M. Brennan, Ill communication II, URBIS exhibition catalogue (Manchester, Cornerhouse, 2004)
33. M. Dorrian, L. Farrelly and D. Recchia, Stick ‘em up (London, Booth-Clibborn, 2002)
34. N. Ganz, Graffiti world: street art from five continents (London, Thames and Hudson, 2004)
35. F. Gavin, Street renegades: new underground art (London, Laurence King Publishing, 2007);
36. T. Manco, Stencil graffiti (London, Thames and Hudson, 2002)
37. T. Manco, Street logos (London, Thames and Hudson, 2004)
38. T. Manco, C. Neelon and Lost Art, Graffiti Brazil (London, Thames and Hudson, 2005)
39. J. Reinecke, Street-art: eine subkultur zwischen kunst und kommerz, (Frankfurt, Transcript, 2007)
40. Also influential in documenting these new forms of ‘street art’ are websites, such as ‘Ekosystem’, based in Toulouse (http://www.ekosystem.og)
41. ‘Wooster Collective’, based in Manhattan (http://www.woostercollective.com).
42. T. Manco, Street logos, p. 6
43. Cresswell, In place/out of place, p. 51
44. Tschinkel, Graffiti/post-graffiti (VHS, Arts America, 1984)
45. Cresswell, In place/out of pace, p. 51
46. Dreph and Sami, ‘Underground resistance’, Graphotism 38 (2005), pp. 124–7
47. P. Hames, ‘They’re dancing in the street’, State of Art 4 (2006).
48. Manco, Street logos, p. 7.
49. Ibid., pp. 7–8
50. O. Stak, ‘Time of the signs’, in Brennan, Ill Communication II, p. 12.
51. http://obeygiant.com/
52. R. Poynor, Obey the giant: life in the image world (London, August, 2001)
53. B. McGee, G. Celant, M. Prada and P. Bertelli, Barry McGee (Milan, Fondazione Prada, 2003)
54. A.J. Wright, ‘Barry Mcgee; TWIST’, Swindle 14 (2007). Available at: http://swindlemagazine.com/issue14/barry-mcgee/
55. J. Huber and J-C. Bailly, Paris graffiti (New York, Thames and Hudson, 1986)
56. P. Haban, Basquiat.
57. ‘The ‘Banksy effect’’, Wooster collective, 13 February 2007. Available at: http://www.woostercoll ective.com/2007/02/the_banksy_effect.html
58. Existencilism (London, 2002)
59. Cut it out (London, 2004)
60. Banksy, Wall and piece (Century, London, 2005)
61. http://www.banksy.co.uk
62. Manco, Stencil graffiti, p. 9
63. Available at: http://bleklerat.free.fr/stencil%20graffiti.html
64. Banksy, G2, The Guardian, 24/03/06.
65. ICA, New directions in graffiti art
66. G. Marcus, Lipstick traces – a secret history of the twentieth century (New York, Penguin Books, 1993)
67. M. Miles, Urban avant-gardes and social transformation: art, architecture and change (London, Routledge, 2004)
68. Adbusters at: http://www.adbusters.org/
69. H. Chalfant and J. Prigoff, Spraycan art, p. 58.
70. C. Rose, ‘Agitprop art: from the spraycan to the CD-ROM’, p. 201
71. C. Rose, Trade secrets: young British talents talk business (London, Thames and Hudson, 1999). Mixology is defined here as ‘the fusing and juxtaposing of different worlds’.
72. Ibid., p. 212
73. City mine(d) at http://www.generalizedempowerment.org/conference.html
74. D. Pinder, ‘Inventing new games: unitary urbanism and the politics of space’, in L. Lees, ed., The emancipatory city: paradoxes and possibilities (London, Sage, 2004), pp. 108-22
75. D. Pinder, ‘The arts of urban exploration’, Cultural geographies 12 (2005).
76. Rose, Agitprop art, p. 208.
77. http://travel2.nytimes.com/2005/03/24/arts/design/24arti.html?ex_1155787200&en_53bdeddd269cf055&ei_5070
78. Available at: http://swindlemagazine.com/issue08/banksy/
79. This site-specificity applies to Bansky’s approach more generally, as he makes clear: ‘[u]ltimately, I just want to make the right piece at the right time in the right place.’ Available at: http://swindlemagazine.com/issue08/banksy/
80. M. Brown, ‘Street artists to adorn Tate facade’, The Guardian, 02/04/08.
81. Cresswell, ‘crucial where of graffiti’
82. M. Cooper, Hip hop files: photographs 1979–1984 (Cologne, From Here To Fame, 2004), pp. 140–59.
83. Austin, Taking the train, p. 187
84. H.S. Becker, Art worlds (Berkeley, CA, University of California Press, 1982), p. 34.
85. Cresswell, In place/out of place, p. 32
86. Both such groups are presented as being dominant, in the sense that they are able to affect their response to graffiti in the city, while the graffiti writers themselves are presented as being dominated. Nonetheless, citing Bordieu, Cresswell points out that this dominance is never total or exclusive (1996, pp. 50–7, passim).
87. In a similar way, established artists have begun to return to the street as a site for producing their art., ‘Urban Art Special Issue’, Art review (March 2005)
88. http://www.nybeautification.org; http://www.danwitzstreetart.com/
89. N. Hanman, ‘Growing up with the wired generation’, The Guardian, 10/11/05, p. 5.
90. L. Dickens, ‘Pictures on walls: post-graffiti, cultural industry and the city’, research paper first presented at the RGS-IBG annual conference, September 2007.
91. B. MacAdam, ‘Outside in: sudden reversals in the street art constitution’, Art of the state 2 (2006).
92. Cresswell, In place/out of place, p. 32
93. Austin, Taking the train
94. M. Berman and B. Berger, eds, New York calling: from blackout to bloomberg (London, Reaktion Press, 2007)
95. M. Greenberg, Branding New York: how a city in crisis was sold to the world (New York, Routledge, 2008).
96. A. Appadurai, ed., The social life of things: commodities in cultural perspective (Cambridge, Cambridge University Press, 1986), p. 5.
97. Cresswell, In place/out of place, pp. 52, 56.
98. Cresswell, In place/out of place, p. 50.
99. Amin and Thrift, Reimagining the urban, p. 26.
100. Ibid., p. 30, original emphasis.
101. J. Anastasio, ‘My life in graffiti’, in M. Berman and B. Berger, eds, New York calling: from blackout to bloomberg (London, Reaktion Press, 2007), pp. 90–101
102. L. Dickens, ‘Journeys on the 133: telling stories from a London bus’, unpublished MA thesis, University of London, 2004
103. F. Masperso, Roissy express: a journey through the Paris suburbs (New York, WW Norton, 1994).
104. Amin and Thrift, Reimagining the urban, p. 24.
105. Pinder, Visions of the city, pp. 153-9.
106. A.L. Bain, ‘Constructing contemporary artistic identities in Toronto neighbourhoods’, The Canadian geographer 47 (2003), pp. 303–17
107. A.L. Bain, ‘Female artistic identity in place: the studio’, Social and cultural geography 5 (2004), pp. 171–93
108. A. Barnes, ‘Geo/graphic mapping’, Cultural geographies 14 (2007), pp. 139–47
109. K. Battista, B. LaBelle, B. Penner, S. Pile, and J. Rendell, ‘Exploring “an area of outstanding unnatural beauty”: a treasure hunt around King’s Cross, London’, Cultural geographies 12 (2005), pp. 429-62
110. J. Fenton, ‘Space, chance, time: walking backwards through the hours on the left and right banks of Paris’, Cultural geographies 12 (2005), pp. 412–28
111. J. Hand, ‘Sophie Calle’s art of following and seduction’, Cultural geographies 12 (2005), pp. 463–84
112. Pinder, ‘Arts of urban exploration’
113. B. Reid, ‘“A profound edge”: performative negotiations of Belfast’, Cultural geographies 12 (2005), pp. 485–506.
114. Keith, ‘Tagging the city’, p. 136.
115. J. Jacobs, ‘A geography of big things’, Cultural geographies 13 (2006), p. 7
116. J. Kerr, ‘Blowdown: the rise and fall of London’s tower blocks’, in J. Kerr and A. Gibson, eds, London from punk to Blair (London, Reaktion, 2003), pp. 189–97.
117. ‘What did architects ever do for us?’, BBC, 30/10/02 at http://news.bbc.co.uk/2/hi/uk_news/2373841.stm
118. The ‘demolition-build’ cycle is part of our society’s refusal to deal with difficult historical issues. Our society tries to erase the past instead of coming to terms with it.’ Available at: http://www.lehman.cuny.edu/gallery/talkback/issue3/gallery/home.html
119. Dickens, ‘Finders keepers’
120. T. Edensor, Industrial ruins: space, aesthetics and materiality (Oxford, Berg, 2005)
121. Pinder, ‘Arts of urban exploration’ and Visions of the city.
122. A. Forty, ‘Concrete and memory’, in M. Crinson, ed., Urban memory, history and amnesia in the modern city (New York, Routledge, 2005)
123. A. Forty, ‘A material without a history’, in J-L. Cohen and G.M. Moeller, eds, Liquid stone: new architecture in concrete (New York, Princeton Architectural Press, 2006).
124. Lingwood, ‘Place’, pp. 25–6
125. N. de Ville and S. Foster, eds, Space invaders: issues of presentation, context and meaning in contemporary art (Southampton, John Hansard Gallery, 1997), pp. 21–8.
126. M. Kwon, One place after another: site-specific art and locational identity (Cambridge, MA, MIT press, 2004), p. 112.
127. A. Harris, ‘Branding the city: the creation of art districts in London and Mumbai’, unpublished PhD thesis, University of London (2005).
128. Banksy A, Banging your head
129. Manco, Stencil graffiti, p. 78.
130. for example Ganz, Graffiti world.
131. Cresswell, In place/out of place, p. 51
132. Austin, Taking the train
133. J. Berger, ‘The primitive and the professional’, in Berger, About looking (New York, Vintage, 1992), p. 71.
134. Ibid., p. 71.
135. A. Bain, ‘Female artistic identity in place: the studio’, in Social & cultural geography 5 (2004), p. 183.
136. L. Dickens, ‘Pictures on Walls’
137. N. Green, ‘Artists in the East End 1968–1980’, Rising East 3 (1999), pp. 20–37.
138. C. Landry and F. Bianchini, The creative city (London, DEMOS & COMEDIA, 1995).
139. Banksy, G2, The Guardian, 24.03.06.
140. A. Bain, ‘Constructing contemporary artistic identities’
141. N. Smith, The new urban frontier: gentrification and the revanchist city (London, Routledge, 1996).
142. R. Deutsche and C.G. Ryan, ‘The fine art of gentrification’, October 31 (1984), pp. 91–111
143. A. Harris, Branding urban space
144. D. Ley, ‘Artists, aestheticisation and the field of gentrification’, Urban studies 40 (2003), pp. 2527–44
145. S. Zukin, The cultures of cities (Oxford, Blackwell, 1995).
146. Cresswell, ‘crucial where of graffiti’ and In place/out of place.
147. Dickens, ‘Finders keepers’ and ‘Pictures on walls’.
148. M. Fraser, ‘Architecture’s urban shine and brutal reality’, in J. Kerr and A. Gibson, eds, London from punk to Blair (London, Reaktion, 2003), pp. 257–72
149. M. Von Joel, ‘Urbane guerrillas: street art, graffiti and other vandalism’, Art of the state 2 (2006).
150. Steve Lazardies, Banksy’s agent, photographer and friend, explained to me that ‘there’s always a support network […] Sometimes it’s me and sometimes it’s someone else’ (in interview 02/08/06). In more street based situations, Banksy is often accompanied by fellow artist and friend, EINE, who commented recently that ‘We would go out at night for three nights a week to work on drawing rats’, in Art World, Oct/Nov 2007, p. 14.
151. Banksy, Banging your head; Existencilism; Cut it out.
152. BBC, ‘Prankster infiltrates NY museums’, 25/03/05. Available at: http://news.bbc.co.uk/2/hi/americas/4382245.stm
153. Pinder, Visions of the city, p. 131.
154. T. Cresswell, ‘Crucial “where” of graffiti’
155. Keith, ‘tagging the city’.
156. R. Shields, ‘Visualicity: on urban visibility and invisibility’, from the conference paper ‘The city is in the eye of the beholder’ given at the Visual Culture in Britain conference at the Tate Britain, London, October 2002.
157. Manco, Street logos
158. For images of the Peckham Rock on the wall at the British Museum
159. http://www.brandspankingnew.net/archive/2005/08/the_peckham_roc.html
160. http://www.wired.com/wired/archive/13.08/bansky.html
161. http://arthistory.about.com/b/2005/05/22/banksymus-maximus.htm
162. http://www.yardwear.net/blog/default,date,2005–08–01.aspx 92
163. A. Pred, Recognizing European modernities: a montage of the present (London, Routledge, 1995).
164. A. Coombes, ‘Blinded by science: ethnography at the British Museum’, in M. Pointon, ed., Art apart: art institutions and ideology across England and North America (Manchester, Manchester University Press, 1994), pp. 102–19.
165. Lingwood, ‘Place’, p. 24.
166. B. Hooks, Feminist theory: from margin to center, 2nd Edition (Cambridge, MA, South End Press, 2000)
167. B. Hooks, Art on my mind: visual politics (New York, New Press, 1995).
168. Pinder, Visions of the city.
169. K. Battista et al., ‘Exploring “an area of unnatural beauty”.
170. Pinder, Visions of the city, p. 142.
171. for example Guerrilla Geography at http://guerrillageography.blogspot.com/
172. The London Psychogeographical Association at http://www.unpopular.demon.co.uk/lpa/organisations/lpa.html
173. the New York Psychogeographical association at http://www.notbored.org/the-nypa.html
174. Situationist International Online at http://www.cddc.vt.edu/sionline/
175. Ganz, Graffiti world, p. 10
176. for good examples see M-City at: http://www.m-city.org/
177. Space Invader, http://www.space-invaders.com/
178. M. Warner, Publics and counterpublics (New York, Zone Books, 2002).
179. Macdonald, The graffiti subculture, p. 2
180. Adams and Winter, ‘Gang graffiti as a discourse genre’
181. Keith, ‘Tagging the city’.
182. A. Barnes, ‘Elusive “art terrorist” makes an indelible mark on the British Museum’, The Independent on Sunday, 29/05/05, p. 11
183. N. Reynolds, ‘Origin of new British Museum exhibit looks a bit wobbly’, The Telegraph, 19/05/05
184. BBC at http://news.bbc.co.uk/1/hi/entertainment/arts/4563751.stm
185. Flickr at http://www.flickr.com/photos/pickard/14668113/in/set-354784/
186. Screenhead at http://www.screenhead.com/funny/art/real-world/the-peckham-rock-104344.php
187. About, Art History Column at http://arthistory.about.com/b/a/171714.htm
188. eWhelp at http://jayson.whelpley.org/archives/date/2005/05/
189. Broome at http://www.kevinbroome.com/archive/2005_08_01_archive.html.
190. Barnes, ‘Elusive “art terrorist” makes an indelible mark on the British Museum’, The Independent on Sunday, 29/05/05, p. 11.
191. Banksy, G2, The Guardian, 24.03.06.
192. G. Debord, Society of the spectacle, trans. Donald Nicholson-Smith (New York, Zone Books, 1994).
193. Kuspit, The cult of the avant-garde artist (Cambridge, Cambridge University Press, 1993), pp. 20–1
194. B.H.D. Buchloh, Neo-avantgarde and culture industry: essays on European and American art from 1955 to 1975 (Cambridge MA, MIT and October, 2000).
195. Banksy, Wall and piece
196. A. Amin and N. Thrift, Reimagining the urban, p. 36.
197. BBC, ‘Prankster infiltrates NY museums’, 25/03/05. Available at: http://news.bbc.co.uk/2/hi/americas/4382245.stm
198. Available at: http://www.outsideinstitute.com/index.asp?PageID_96
199. Banksy cited in Manco, Stencil graffiti, p. 79.
200. L. Dickens, ‘Art, anti-social behaviour and the local state’, research paper first presented at the AAG annual conference, Chicago 2006.
201. http://swindlemagazine.com/issue08/banksy/