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Street Art, Ideology, and Public Space

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Street Art, Ideology, and Public Space Portland State University PDXScholar Dissertations and Theses Dissertations and Theses Spring 1-1-2012 Street Art, Ideology, and Public Space Tiffany Renée Conklin Portland State University Let us know how access to this document benefits ouy . Follow this and additional works at: http://pdxscholar.library.pdx.edu/open_access_etds Part of the American Popular Culture Commons, Urban Studies Commons, and the Urban Studies and Planning Commons Recommended Citation Conklin, Tiffany Renée, "Street Art, Ideology, and Public Space" (2012). Dissertations and Theses. Paper 761. 10.15760/etd.761 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. For more information, please contact [email protected]. Street Art, Ideology, and Public Space by Tiffany Renée Conklin A thesis submitted in partial fulfillment of the requirements for the degree of Master of Urban Studies Thesis Committee: Sy Adler, Chair Carl Abbott Hunter Shobe Portland State University 2012 Abstract The concept of the city has come to play a central role in the practices of a new generation of artists for whom the city is their canvas. Street art is a complex social issue. For decades, its presence has fueled intense debate among residents of modern cities. Street art is considered by some to be a natural expression that exercises a collective right to the city, and by others, it is seen as a destructive attack upon an otherwise clean and orderly society. This research focuses on various forms of street art from the perspective of the urban audience. The general aim is to further an understanding of how people interact with and respond to street art. Qualitative and quantitative data were gathered via direct participant observations of street art installations and 139 surveys conducted with residents in Portland, Oregon. Survey respondents distinguished between street art forms; generally preferring installations and masterpieces over tagging and stickers. More respondents considered graffiti to be a form of artistic expression, rather than an act of vandalism. Participant observations indicated that purposefully-designed street art can promote interaction between people, art, and public space. Random urban spectators became active collaborators; using art and performance to express themselves in public. These findings indicate there is a need to reconsider zero tolerance graffiti policies. Overall, these findings also contribute to a more informed discussion regarding the regulation, acceptability, and possibilities of unauthorized artistic expression in cities. i Acknowledgements The pages of this thesis hold far more than the culmination of years of study. They also reflect the relationships with many generous and inspiring people in my life that have helped me reach this goal. I want to first thank my committee chair, Sy Adler, for his advice, supervision, patience, and crucial contributions. No matter how many times I changed directions over the years, he read my papers, provided me thoughtful feedback, and kept me on-track. I am grateful for the friendly advice and support of my second adviser, Carl Abbott. Last but not least, I thank Hunter Shobe for his guidance and friendship. His insights inspired me to follow my heart and pursue the topic of street art. I am indebted to him more than he knows. To my colleagues at the PSU Survey Research Lab, especially Debi Elliott and Amber Johnson, thank you for your encouragement and support. Working at the lab provided me knowledge and experience that I was able to apply directly to my studies. I thank my fellow urban studies students, especially Katrina, Molly, Casey, Jen, Melissa, and Chris who have been a source of friendship, good advice, and collaboration. For my lifelong friends, Danielle, Oliver, Anton, Kyle, Jake, Adam, Christina, and Jim, thank you for your friendship and providing me much needed distractions over the years. To the street artists whose work inspires me beyond words; especially Paul, Kanye, Dr. Rasterbator, and Skam, thank you for sharing your stories, insights, opinions, and imaginations with all of us. ii Lastly, I thank my family for their love and encouragement. Thank you for instilling in me confidence and a drive to pursue my goals and dreams. I especially thank my mom for her unwavering support; I would not have made it this far without you. Most of all, I thank my loving, understanding, reassuring, and patient partner Zac whose support and assistance over the years is so appreciated. I could not have done this without you. Thank you. iii Table of Contents Abstract ...........................................................................................................................i Acknowledgements ....................................................................................................... ii List of Tables ................................................................................................................ vi List of Figures ..............................................................................................................vii Chapter 1. Introduction................................................................................................. 1 Research Problem and Questions ............................................................................... 3 Conceptual Model ...................................................................................................... 8 Conceptual Framework .............................................................................................. 9 Chapter 2. Background ............................................................................................... 11 Street Art in Portland, Oregon .................................................................................. 12 Sunnyside Piazza and the Belmont Strip ............................................................... 19 Taylor Electric Building ....................................................................................... 23 Street Art in Berlin, Germany................................................................................... 27 Anarchist Communities ........................................................................................ 28 Kunsthaus Tacheles .............................................................................................. 33 Kreuzberg Mural Lot ............................................................................................ 34 East Side Gallery .................................................................................................. 36 Chapter 3. Literature Review ..................................................................................... 40 Graffiti vs. Street Art: What is the Difference? ......................................................... 40 Historical Overview ................................................................................................. 41 Graffiti ................................................................................................................. 41 The Rise of Street Art ........................................................................................... 45 Review of Policy Literature...................................................................................... 60 Broken Windows Theory ...................................................................................... 60 Research on Graffiti in Portland, Oregon .............................................................. 64 War on Graffiti ..................................................................................................... 65 Review of Theoretical Literature .............................................................................. 67 Street Art as Public Interaction ............................................................................. 67 Playing with Public Space .................................................................................... 70 Tactical Urbanism ................................................................................................ 72 Review of Methods .................................................................................................. 75 Street Art Taxonomies .......................................................................................... 75 Public Perceptions of Street Art ............................................................................ 76 Methodological Contributions .............................................................................. 77 Chapter 4. Methodology .............................................................................................. 79 Hypotheses .............................................................................................................. 80 Participant Observations .......................................................................................... 83 Survey Research ...................................................................................................... 88 Street Art Taxonomy and Questionnaire Design ................................................... 88 Pilot Testing and Post-Pilot Methodology Changes............................................... 95 Web Survey Methodology and Subject Recruitment ............................................. 97 iv Survey Research Limitations .............................................................................. 102 Chapter
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