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Graffiti and Street Art on Instagram NUART JOURNAL 2020 VOLUME 2 NUMBER 2 117–127 117 Snitches, Glitches, and Untold Riches: Graffiti and Street Art on Instagram Lachlan MacDowall MIECAT Institute Melbourne, Australia The following is an adapted version of a talk given by Lachlan Macdowall at the 2018 Nuart Plus symposium in Stavanger, Norway. Lachlan MacDowall’s new book Instafame: Graffiti and Street Art in the Instagram Era. Lachlan MacDowall speaking at Nuart Plus. Stavanger, Norway, September 2018. Chicago: University Photograph ©Runa Andersen. of Chicago Press is out now. All images ©Lachlan MacDowall. For the last five years, I’ve been thinking about the impact that Instagram has had on graffiti and street art. I grew up in the graffiti scene in the 1980s and ‘90s. We had no technology in the way that we do today. No mobile phones, no internet. So, like many of us, I’ve lived through a transition where art forms like graffiti, and later street art – which emerged on the cusp of the digital revolution – have now shifted into a space where we are drenched in forms of media culture. This is not a pro-Instagram talk, but as a scholar and as someone who makes art on the streets, I’ve become fascinated with how Instagram has reorganised aspects of street art culture and also how it has made visible some things that were previously invisible. My new book, Instafame, looks at the top 100 accounts for street art and graffiti. It gives a broader theoretical concept to this digital shift and it looks in detail at the kind of data that is produced by Instagram. This project began with the very simple realisation that, when we are flicking through Instagram on our phones, there is a vertical feed – a mesmerising transition of images –, our finger is rubbing the screen and the images are floating up and down. For me, the transition of images across our eyes has a lot of similarities with the experience of being on a train, looking out the window. There’s a longstanding theo- retical tradition that thinks about the connections between train travel and the emergence of visual technologies like cinema, but for me it was an intuitive realisation that scrolling through Instagram is like looking at graffiti from a train. 118 NUART JOURNAL A spectator photographs a mural by Rone. Melbourne, Australia, 2015. A Melbourne train carriage, with windows resembling the square format of the early Instagram feed. As someone who looks at graffiti, you begin to And there is also pressure on artists to become develop particular techniques of scanning images. involved in this series of transactions that revolve around Graffiti itself is very much attuned to the logic of Insta- Instagram. You know from your own use of phones that gram, because graffiti is all about grasping your attention Instagram produces certain types of anxiety, certain in an instant. Something about this very small fraction fears about visibility – and it’s not too long before we of time – the instant, the speed of contemporary culture see artists being drawn into that system – feeling like – gives graffiti a real opportunity, a real connection, to the they have to be on Instagram, as this is the place where perceptual apparatus that has developed on Instagram. things are happening. My point of argument in the book is that Instagram So, we have a series of feedback loops that really accelerates and amplifies forms of street art and graffiti. begin to organise the field of street art in interesting In more formal terms, it institutes a series of feedback ways. They make visible new forms of aesthetics, which loops that influence every aspect of the production and are a correlate of the ‘likes’ on Instagram; they also consumption of graffiti. I’m thinking here about that begin to organise forms of affiliation, this is the idea moment when graffiti writers and street artists begin of followers; and finally, there’s this notion of attention to embrace technology and start to use their phones in (or comments). Indeed, the attention economy is orga- the street, there’s no more sketches, no more blackbooks nised by the architecture of Instagram. We begin to see – suddenly this digital object becomes the filter through in Instagram a collapsing of context, and a radical which art is produced. Phones also become integral to equivalency between categories which were previously the documentation of art on the streets, and they become separate. We begin to see forms of collapse, both in the tool through which we all begin to encounter street terms of spatial categories and in terms of temporal art. There has been a radical amplification – where categories. To take one example, here’s a couple of street art is now available to enormous audiences who images: A crate man figure in Melbourne in 2005 and will never encounter the work in its original location. a work by Ben Wilson on the Millennium Bridge in London. Digital audiences start to swell, and now dramatically The work on the left, as you can see, is made of milk crates, outnumber the people who would ever see the work in and the work on the right is the size of your fingernail. the flesh. SNITCHES, GLITCHES AND UNTOLD RICHES: GRAFFITI AND STREET ART ON INSTAGRAM 119 A ‘Crateman’ (sic) at Victoria Park station, Melbourne, mid-2000s and a painting on discarded chewing gum by Ben Wilson, Millennium Bridge, London, 2015. So, in terms of spatial and temporal collapses, about taking some tools and inventing some new methods when these works are posted on Instagram they are that will help us to chart the institutionalisation of street often out of sequence – the spatial scale of the two art. So, for instance, some of my work has been about works is completely missing, the spatial context in which addressing this question of gender and thinking about they happen evaporates, and any sense of the duration how we can use Instagram to produce statistics to show of the works is lost. These crate men figures existed the limited representation of women in the industry for only a month, while Ben Wilson’s work is virtually elite. As someone who got acquainted with street art indestructible, and will last at least ten years. In the at a time when it was a radical democratic practice, a world of Instagram, we have this radical equivalency practice that was an open invitation to change the city, where space and time start to collapse. We can see it’s almost with horror that I lived through this techno- this in many different types of production. We see artists logical change, but also this institutional change, which playing with, or being sucked into, this radical equivalency, is producing a kind of aristocracy within street art – often as people try to respond to the force of gravity of Instagram. with artists whose work I really admired, but I just had This all shows a number of very negative effects; this uneasiness about this. So, I’m hoping that this work the erosion of experience, of tradition, and of many of will not add to this production of an aristocracy, but rather the earlier forms of graffiti. The title of my book – provide more visibility to some of these tendencies. Instafame – is therefore an idea that’s filled with cynicism. I’ve been developing data on the 100 most follow- This idea that the goal should be fame, and that you can ed Instagram accounts for graffiti and street art, and gain this instantly. But as a scholar, I began to think I’ve used this data in many ways to try and visualise about other aspects of Instagram and thinking about this global trend, particularly over the last four years. how it begins to make visible a number of things that So, this is just one example; thinking about street art scholars have been interested in, but have been unable – which is framed as this global practice with our coffee to fully grasp or fully represent. So, in the second part table books full of images in exotic locations – we can of this talk I want to show some examples of what I see from this mapping that the elite in street art really have done recently by extracting forms of data from are clustered in three zones: on the West Coast of the Instagram and using that to represent aspects of street art. United States, in New York, and in Western Europe. So, I’m trying to avoid the impression here of giving while street art has shaped the globe in many different a Ted talk and also trying to avoid the impression of spaces, these metropolitan centres in the United States giving a share market report. My slides look a little bit and Europe are still the focus of this kind of work. like a share market report of street art, but really it’s 120 NUART JOURNAL Cities of origin of graffiti writers and street artists in the top 100 most followed graffiti and street art accounts on Instagram, 2015. And here’s a mapping of the most followed accounts, the top 20 accounts on Instagram: Street Art Globe Instagrafite Banksy JR Os Gemeos Juxtapoz Magazine Shephard Fairey Mr Brainwash KAWS Street Art News Nychos Invader Eduardo Kobra 1UP Crew Montana (mtncolors) Ironlak Montana (montana_colours) These are the elites of street art; the artists, Sofles festivals, organisations, and publications that have the Pow! Wow! Worldwide most followers, and therefore the most influence. Once Cost we have data like this, other kinds of questions emerge.
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