Defining Street Art

Defining Street Art: Bacharach (2015) and Riggle (2010)

Example of a synthesis first draft that focuses on comparing and contrasting two sources explicitly:

What is street art? Street art is a form of art which became popularized in urban centers and has now come to occupy space in modern art museums (Rea, 2019). This form of art is commonly identified by the use of spray paint or similar materials in public spaces, often on walls or billboards where advertising previously existed. However, despite its popularity, defining street art has been challenging, even for experts (Rea, 2019). Nevertheless, scholars have offered their opinions on the proper definition of the street art genre. Riggle (2010) defines street art in his article “Street Art: The Transfiguration of the Commonplaces” through an analysis of the characteristics of some examples of street art in relationship to their environment, specifically their use of the street as an element in the piece, a use which he claims represents this genre.  In response, Bacharach (2015) re-examines Riggle’s definition in the article “Street Art and Consent” by not only emphasizing the relationship of street art to its environment but also characterizing the nature of that relationship as definitively aconsensual. While Riggle (2010) offers one definition of street art based on the use of the street as an element, Bacharach (2015) challenges this definition with one based on the aconsensuality of the work, and upon closer examination, it is clear that Bacharach’s definition is the most appropriate as it better identifies a wider variety of famous street art examples.

Body 1 = Explain what Riggle offers (comparing/contrasting with Bacharach)

Riggle’s focus on the street as an integral element of street art provides one method of easily identifying examples of this artistic genre. Riggle (2010) states his definition of street art as follows: “all and only those artworks whose use of the street is essential to their meaning” (p. 255). This statement identifies the singular focus for Riggle on the element of the street in these works of art, and to explain and support his definition, Riggle then discusses how the street is integral in famous street art examples. For example, Riggle (2010) discusses the works of Josh Harris, an artist who makes inflatable sculptures, and Stikman, an artist who places plastic stick figures in the middle of the street. The location of these artists’ work provides Riggle’s evidence that the street is essential to understanding the work. Similarly, Bacharach (2015) agrees with the fact that Harris’ work relies on the street and would lose meaning in another location; however, she also offers additional examples of artwork, such as those secretly placed in British museums by Banksy which are considered street art despite having no relationship to the street. This statement shows that not only does Bacharach understand what Riggle offers with his definition of street art but has also considered other famous examples of this genre which do not match his definition.

Body 2 = Explain what Bacharach offers

(comparing/contrasting with Riggle)

Bacharach critically reviews Riggle’s previously established definition of street art with additional examples that successfully support her new definition of street art based on aconsensuality. Bacharach (2015) uses examples, such as the previously mentioned Banksy works which were secretly placed in British museums, to show that not all street art has to be in the street. Due to the fact that the examples which Bacharach uses are well-known examples of street art, the reader can see how Riggle’s definition insufficiently identifies works in this genre. Additionally, Bacharach (2015) evaluates works of art which have the street as an integral part of their design and are not considered to be examples of street art, such as Maya Lin’s Vietnam Memorial. These examples show that Riggle’s definition could incorrectly identify works of art as street art when popular consensus already exists that these artworks are not examples of that genre. Instead of relying on the street as the definitive element of street art, Bacharach (2015) focuses on the nature of street art as being aconsensual. In other words, street art is artwork which is not permitted but is still displayed anyway. This definition of street art still focuses on the relationship of the artwork to its environment, like Riggle (2010); however, the emphasis for Bacharach (2015) is on the nature of that relationship between street art and its environment as aconsensual rather than simply considering its inclusion of a particular element. In making this shift and identifying the type of relationship which between street art and its surrounding environment exists as aconsensual, Bacharach is creating a definition which requires knowledge not only of the elements in the artwork itself but also knowledge of whether the artwork was permitted or aconsensual. While it may be more difficult in some situations for the average viewer to make this determination, as they may not know whether or not the work was permitted, this definition helps to identify those examples of street art which Bacharach (2015) claims embody the spirit of the genre.

Conclusion

In conclusion, Bacharach (2015) reanalyzes the definition of street art proposed by Riggle (2010) and proposes that this genre should be defined by the spirit of the artist rather than the elements of the artwork, and this new definition allows for the inclusion of a greater number of famous street art examples than the previous one. While Riggle (2010) focuses on the idea of the street, the environment in which the work occurs, as the integral component of this work, Bacharach (2015) considers that the street as an element is not as definitive as the relationship of the artwork to its environment being aconsensual. Using this focus on the artist’s intentions and acceptance in a particular environment, Bacharach is able to consider examples, such as Banksy’s guerilla museum installations, as street art despite this works having nothing to do with the street as an environment. Potentially, this definition could even allow for such installations as Banksy’s Dismaland, a mock theme park with disturbing installations criticizing modern sociey, to be considered as street art. In this case, the aconsensual relationship may exist not only with the society in which the art is displayed but also with the corporations, such as Disney, which the art appears to be satirizing. Similarly, works by Ron English, such as MC Supersized, are statues or figures that have nothing to do with the street as an element but are popularly considered to be examples of street art. Thus, the focus on the aconsensual spirit of street art seems more appropriate for defining this genre than the use of the street as an integral element, a finding that supports Bacharach’s (2015) definition.