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STREETARTHUNTING:INSTAGRAMANDTHEGAMIFICATIONOFCREATIVEPLACEMAKINGDanielleFoushéeArizonaStateUniversity|AssistantProfessorDesignPhoenixMuralProject|Director,FounderSubversiveCreativityLab|Director,FounderAbstract

Thelargescaleandpublicnatureofmuralsarequickandeasysocialmediasubject

matterforvisitorstobroadcasttheirdiscoveriestotheworldandclaimanauthentic

experienceofaspecialtimeandplace.Wideaccesstodigitalphotographyandsocial

media—Instagraminparticular—deliversagame-likesocialexperienceof

“hide-and-seek”forstreetartlovers,cultivatingasenseofintimacywiththemurals,the

artists,andconnectiontothelargercommunity.Thispaperexplorestheunwrittenrules

ofthegamethroughthelensofacasestudyinPhoenix,Arizona.Itunveilsthewaysin

whichcreativeplacemakingisfosteredthroughthespontaneousemergenceofdigitaland

physicalinteractionsbetweenartistsandtheiraudiences,withoutinterferencefrom

socialorganizationsorpublicofficials.Thispositionpaperultimatelyarguesthatself-

organizing,grassrootscommunityartsactivitiesmaybemoreinclusive,egalitarian,and

potentthaninstitutionally-drivencreativeplacemakingefforts.

Keywords:socialmedia,gaming,creativeplacemaking,Instagram,streetart,urban

studies,play,murals,socialequity

Introduction

Imovearoundalot,soIknowwellthefeelingofdisplacement.Findingasenseofplaceand

belongingcanbeelusiveeveninfamiliarlocations,andevenmorechallengingtofindina

completelynewenvironmentwithitsowngeographiesandcultures.WhenImovedto

Phoenix,Arizonain2016,Ididn’tknowanyone.Ihadonlyvisitedoncebefore,fora

conference,sowhenIrelocatedthere,Iknewfindingmypeoplewouldtakesomeeffort.

ThefirststrategyIusedtofindmybearingswassimplytostartwalking.Exploringthecityon

footmakesthingsvisibleinwaysthatspeedingbyinacardoesn’t.Iexperiencedthecitywith

allmysenses—notingnotonlyitsvisualcharacter,butalsoitssounds,smells,andtextures.

DuringmytreksaroundPhoenix,IwasmostsurprisedanddelightedwhenIwouldturna

cornerorglancedownanalleytofindmurals,drawings,andgraffitiwriting.Ibecame

Figure1:Artist:TatoCaraveo/Photobytheauthor/Phoenix,Arizona

obsessedwithwalkingdifferentrouteseachtimeIventuredout,lookingforthecity’sstreet

art.Ididn’tknowitatthetime,butwhenIbegantopostphotosoftheartonInstagram,I

unintentionallyjoinedthegameof“StreetArtHunting.”Playingthisgamehasbeenakeyfactor

indevelopingmysenseofhomeinPhoenix.

StreetArtHunting

canbeclassifiedasatypeof

CreativePlacemaking

activity.Thegamefosters

senseofplacethroughthe

spontaneousemergenceof

digitalandphysical

interactionsbetweenartists,

theiraudiences,andthecityitself.Streetartistsandstreetartseekersplaytogether,each

takingondifferentrolesatdifferenttimes—sometimesthehunter,sometimesthe

gatekeeper,othertimesthefoil.Thegamehasnoofficialnameandnowrittenrules.In

fact,itisn’tevendiscussed.Participantsenterintoitbyvirtueoftheirsharedinterestin

streetart,theirmotivationtoexperiencetheartinreallife,andtheirdelightinsharing

theirprogressonInstagram.InPhoenix,theimpromptusocialnetworkscreatedthrough

StreetArtHuntingconnectpeopleonlineandinperson.It’splayedincitiesworld-wide,so

thecommunitiesbuiltinPhoenixalsoco-facilitateplayfulrelationshipsbetweenpeopleall

overtheworld.

FrommyperspectiveasascholarinVisualCommunicationandasaStreetArt

Hunter,Iwanttounderstandthewaysinwhichcommunitiescreatebothvirtualand

Figure2:Artist:JessePerry/Photobytheauthor/Phoenix,Arizona(muraldestroyedfornewdevelopment)

physicalplacesbyplayingtogetherwiththeimagestheymake.Forthiscasestudy,Iuseda

combinationofqualitativemethodsincludingethnography,informalinterviews,visual

observation,andWieldresearch.IexaminedthewaysinwhichPhoenix-basedstreetartists

andtheiraudiencesengagewithoneanotherviaInstagram.Asaresearcher,myexperience

asanembedded,participantobserverprovidesaninsider’sperspectiveofthecommunity,

itsuniquecustoms,anditsunspokenrules.

Thispaperhasthreeparts.IntheWirst,I’llshareanoverviewofthepracticeof

CreativePlacemakingandexaminebothbeneWicialandproblematicwaysitimpactscities.

Inparttwo,I’llillustratetheshortcomingsofCreativePlacemakingthroughacloselookat

thehistoryandculturalcontextofurbanartinthestreets.AndWinally,inpartthree,I’ll

showyouhowtheStreetArtHuntinggamealreadyaccomplishesthegoalsofformalized

CreativePlacemakingeffortswithoutinstitutionalintervention.Iwillarguethatstreet

artistsandtheircommunitiesaredoingtheworkofplacemakinginwaysthatareracially,

economically,andsociallyinclusive,andperhapsmorepotentthanCreativePlacemaking

interventionsbygovernments,institutions,andotherofWicialmeans.

CreativePlacemaking

“CreativePlacemaking”isarelativelynewbuzzwordusedtodescribealongstanding

practice,namely,thewaysinwhichartistsengagewithcitiesandcommunitiestodevelop

andenhancethelovablequalitiesofaplace.Ingovernmentandacademia,thetermusually

referstoaformalrelationship/partnershipbetweenanartistorartistcollectiveanda

community-basedorganization,business,orgovernmententitythatexiststoaccomplish

certainsocialgoals—mostcommonlyeconomicdevelopment.Whoisincludedand

excludedinplacemakinginitiativesisanimportantfactorthatshapescommunitiesaround

theworld.

“SenseofPlace”isaconceptthatenjoyswidespreaddiscussionacrossmany

sectorsincludingurbanplanning,communitydevelopment,economics,healthcare,and

Figure3:Artist:DenzforPhxMuralFest2018/Photobytheauthor/Phoenix,Arizona

thearts.SincetheIndustrialRevolution,peoplehavebecomemoreuprooted,more

mobile,andlesstiedtoaspecificgeographiclocation.Thegrowthofinternationalbrands

overthepast100yearshasalsocontributedtoakindofhomogenouslandscapeinwhich

companiesacrosstheglobeofferthesamegoodsandservicesinthesameways,

everywhere.Ononehand,thesimilaritiesfoundindifferentlocationsbytransitional

populationscreatesasenseoffamiliarity,butontheother,placesnolongerfeelspecial

orunique.

OrganizationalandenvironmentalpsychologistFritzSteelemeditatedonthe

characteristicsofplaceinhisseminalbook,TheSenseofPlace,in1980.Thesecriteria

include:stronglocation,boundaries,geographicdistinctiveness,scaleandproportion,

plusrichidentityandimagery.1Whilethesephysicalattributesofalocationareimportant,

Steele(andothers)alsopromotestheideaofaspecial“spirit”thatmustbepresentfor

cultivatingasenseofplace.Thisspirit,heclaims,isdeWinedbyseveralqualities:choices

andoptions,memoriesandfantasies,vitality,andpersonalization.2ThepracticeofCreative

Placemakinginvolvesactivatingthesecharacteristicsofplaceusingartsandcultureasthe

catalysts.

SincethepublicationandwidespreadpopularityofRichardFlorida’sRiseofthe

CreativeClassin`aa`,artistshavegainedrecognitionasimportantcontributorstothe

successofcities.FloridadeWinestheCreativeClassastheprofessionalsworkingin“science

andengineering,architectureanddesign,education,arts,music,andentertainmentwhose

economicfunctionistocreatenewideas,newtechnology,andnewcreativecontent.”3More

recently,Floridapublishedafollow-upbookthathighlightstheshortcomingsofhisoriginal

thesis.InTheNewUrbanCrisis,hepointsoutthecommunitydevastationthatcanoccur

withoutwell-plannedandexecutedeconomicdevelopmentinterventions.4Despitehis

recentstatementscontradictinghisoriginalideas,5theideaoftheCreativeClassisnow

widelyacceptedasaprimarydriverofcontemporaryurbaneconomies,oftenwithout

critique.

Overthepasttwodecades,academics,bureaucrats,andindustryexecutiveshave

arguedthatthehierarchical,top-downapproachoftheindustrialagenolongerpromises

desirableoutcomes.InFortheLoveofCities,communitydevelopmentexpertPeter

Kageyamastates,“Thingsthatmakecommunitiesinterestingandloveabledon’tnecessarily

costalotofmoney.Whattheydorequireisinsightandsensitivitytotheideathatweare

buildingemotionalconnectionswithourcitizens—notjustpavingroads,expandingour

taxbase,andcollectinggarbage.”6Googleunderstandsthatcreativity,Wlexibility,and

humanityarekeyelementsforsuccessintoday’sworld.Thecompanyiswell-knownforits

inward-facingresearchthatexaminescorporateculture,deWinessuccessmeasures,and

determinesbestpractices.OnesuchstudyshowedthatKageyama’sintuitionwascorrect—

peopleconnectwithotherpeople,notwithstatisticsandsystems.Todeterminethe

characteristicsofthebestworkplacemanagers,Googleconductedastudyofoverga,aaa

managerdatapoints.TheyweresurprisedtoWindthattechnicalskillcameinlastasa

predictorofsuccess.Instead,theynotedthatthebestleadersexhibitedthemostEQ,or

emotionalintelligence.7It’sthesoft-sell,personalrelationshipsthatcreateasenseofplace

andconnection,notthenutsandboltsofday-to-dayactivities.Thisistheoverarching

themeofCreativePlacemaking.

Armedwiththisevidence,cityandbusinessleadersrealizetheneedtoaddress

communityconcernswithinnovativeandunexpectedinterventionsthatsynthesizemany

pointsofview.Somequalitiesofcreativity—likedivergentthinking,playfulness,andsocial

connection—canbreedasenseofuncertaintyforpeopleintraditionaladministrative

roles.Inresponsetotheirunfamiliaritywithcreativeprocesses,seatsatcommunityand

economicdevelopmenttablesmaybeofferedtoartists,designers,andothercreative

professionals.

Inits`agjpublication,HowtoDoCreativePlacemaking,U.S.-basedNational

EndowmentfortheArts(NEA)outlinesthepractice.JasonSchupbach,thebook’seditor

andformerdirectorofDesignProgramsattheNEA,highlightstheorganization’ssupport

forCreativePlacemakingactivities.8Thefocusisonbringingartiststogetherwithurban

planners,transportationmanagers,communityorganizers,andotherofWicialstoaddress

speciWicsocialorstructuralconcernswithinexistingbureaucraticsystems.

RobertoBedoya,culturalaffairsmanager

fortheCityofOakland,critiquesthis

hierarchicalapproachtoCreativePlacemaking.

Hepointsouttherealitythat“beforeyoucan

haveplacesofbelonging,youmustfeelyou

belong.”Hehighlightsthecomplexhistoryof

placemaking,inwhicheffortstocreateplaces

beneWittedsomegroupsandservedtocontrol

others.Asexamples,herecallstheU.S.

government’shistoricalpoliciesofforcedmigrationsofNativeAmericansandinternment

ofJapaneseAmericansduringWorldWarII.9Inbothinstances,entirepopulationswere

forciblyremovedfromtheirhomestomakewayfornew,moresocially,politically,and

Figure4:Artists:Drek,Arko,Keisr/DetailofalargermuraldepictinginstitutionalviolenceinMexico/Photobytheauthor/Phoenix,Arizona

economicallypowerfulresidentstorecreatethoseplacesintheirownimage.Bedoya’s

concernhighlightshowCreativePlacemaking,whenpracticedcarelessly,couldeasily

becomeafacilitatorforgentriWication.

TheNEAusesitsOurTowngrantstosupportCreativePlacemakinginitiativesacross

theUnitedStates.ApplicantsmustcomplywithabevyofrulestoWitwithinthefunding

requirements.Thesourcesofthesecriteriaarevague;possiblydevelopedbyarts

administrators,businessandpoliticalinterests,andperhapsasmatteringofcitizeninput.

Whilethesepublicservants’intentionsmaybesincere,artistsandorganizationsmust

necessarilyshoehorntheirworkintosomebodyelse’sideaofplaceiftheywantaccessto

thefundingthatmakestheirworkpossible.Certaincriteria,suchastherequirementfor

matchingfundsandsponsorshipbyestablishedartsorganizations,canalsobuildobstacles

intothesystemthatwilllockoutsomewould-beapplicantsaltogether.

Figure5:ArtistsHugoMedina,RyanAlexander,CarlosMendoza/Photobytheauthor/Phoenix,ArizonaStreetartistsareespeciallyvulnerable,eveninPhoenix.Jurorsandpanelistsmay

havebiasagainsttheurbanarts,sincethesearecommonlyconsidered“lowbrow”or

outsidetheboundariesofconventionalartsformatsanddistributionchannels.Street

artists’race,economiccondition,immigrationstatus,andeducationalattainmentcan

createadditionalbarrierstoparticipationandaccesswithinestablishedsystemssuchas

thosefundedbygovernmentagenciesandwealthydonors.

CreativePlacemakingshouldwelcomeallkindsofparticipants.Atthenational,state,

andlocallevels,leaderstendtoprioritizethefacilitationofformalpartnershipsbetween

artists,governments,andorganizations.However,JennaMoran,programmanagerat

NationalAssociationofCounties,envisionsawiderscope.Shewrites,“Creative

placemakingcantakeplaceanywhere—insideoroutsideanorganization’sbuilding.It

doesnotmatterwhatyoucallit—outreach,communityengagement,creative

placemaking,etc.Whatmattersisthattheworkisbeingdone.”10

InPhoenix,artistsandgrass-rootsactivistshavebeendoingtheworkof

placemakingallalong.Yet,they’reoftenoverlookedamonginstitutionaladvocatesfor

CreativePlacemaking.Manytimes,artistsarealreadymembersofthecommunitiesthey

serve.PhoenixhasaproliWic,locally-basedpopulationofmuralistsandwallpainterswho

usuallyworkasindependentagents—withoutinstitutionalcollaborators,wealthyfunding

sources,orapprovalthroughofWicialchannels.Thesestreetartistsworktowardsavisionof

placethatcomesfromthemselvesandtheirneighbors.Theirworksarelocatedinand

commentontheirimmediatelocations.

Oneofthemostimportantfunctionsofstreetartisitscreator’sabilitytotellstories

andshareideaswithintheircommunitiesandamongtheirpeersinpublic.Streetartists’

independentcreativeinterventionsmightalignwithoutsiders’ideasoftheplace.Butit’s

justaslikelythattheworkcontradictsorevenresiststhoseideas,whileatthesametime

portrayingamoreaccuratepictureoftheplacelocalswishtosee.

StreetArt

Streetartiscommonlyassociatedwithyouthdelinquency,vandalism,andothercriminal

activity.WhilemuralismandgrafWitiaspublicarthaveexistedinsomeformformillennia,

thegenreasit’scurrentlyknownwasborninNewYorkandLosAngelesinthegpqas.11

Culturalconditionscametogethertocreateenvironmentswherethisundergroundartform

Wlourished:thesuburbshadsucceededinluringmiddle-andupper-classresidentsand

theirmoneyfrominnercities,qualityjobsandeducationalopportunitieswerelostinurban

areas,andthecountrysufferedfrompoliticalandeconomicuncertainty.

Thepeopleleftbehindinurbancenterswereoftenpeopleofcolor,immigrants,and

otherpopulationswhocommonlyfacesystemicdiscrimination.Residentshadlittle

economicopportunityandbasicserviceswereneglectedbyofWicials.Theylivedamong

numerousabandonedbuildingswithlittleoversightfromauthorities.Howeverdismal

theseconditionswere,theyalsoprovided

opportunitiesforblackandLatinoyouthto

exercisenewfreedomsandtesttheir

limitationsaftertheCivilRights

Movement.These‘forgotten’places

becamecanvasseswherepeoplecould

expressthemselves,shareideas,andbuild

community.Streetartbecameapowerful

mediumthatunleashednewcreative

voicesintothepublicsphere.Figure6:Artists:Such&ChampStyles(father/son)Photocourtesyoftheartists/Phoenix,Arizona

TheseartistsinventedpotentexpressionsofanalternativeAmericanexperience,

onethatmanypowerfulpeoplehopedwouldstayundergroundandunexamined.Asthis

newcreativevernacularbledintomainstreamculture,America’sdominantbusinessand

politicalclassesresisteditbypublicizingnegativestereotypesabouturbanartistic

productionandbycriminalizingitsassociatedbehaviors.12Authoritieszeroedinonstreet

artistsandgrafWitipainters—theirvisualevidencebecameaneasytargetforsocial

resentmentandregainingcontrol.

Overthepast40years,negativeattitudesaboutstreetartistsandtheirworkhave

beenhardtoshake.Lawenforcementcontinuestoviewgraffitiasexpensiveproperty

damage;evensanctionedmuralsandstreetartareoftentreatedwithsuspicionor

whitewashed.Officialsprosecuteartistsharshly.In2010,well-knownPittsburghartist

DanielMonano(akaMFONE)wasconvictedofgraffitivandalism.Hespenttimeinprison

andwassentencedto2,500hoursofcommunityservice,plus$232,000inrestitution.In

aninterviewduringhisincarceration,hesaid,“I

alwayswantedtheworldtobeacertainway,

andwhenitwasn’t,Itriedtoforceit.ButI’m

learningtoaccepttheworldthewayitis.It’s

greaterthanmeandI’mnevergoingtowin.”13

Ononehand,artistsincludingMFONE

experienceongoingsystematicpunishmentfor

theircreativework.Ontheother,muralism,

grafWitiwriting,andotherkindsofstreetarthave

seenexponentialgrowthinpopularityandFigure7:JuxtapozmagazinecoverSpring2018#206

culturalinWluenceoverthepastdecade.Asfarbackasgppt,Juxtapozmagazinebeganto

offersomelegitimacytoundergroundartistsinCalifornia.Stillinpublicationinàgu,it

featuresskate-,surf-,andhotrod-inspiredwork,inadditiontografWiti,streetart,andother

illustration-basedgraphicforms.Byàapithadhighercirculationthananyotherart

magazineintheU.S.duetoitsfocusonpopularculture,commercialarts,tattoos,and

comics.14Unlikehigh-endgalleriesandartdealers,themagazinecontinuestomakeart

accessiblebyofferingaffordablewaysforeverydaypeopletobuyandkeepitfor

themselves.

Severalfactorsconvergedinàgathatgave

muralism,grafWiti,andstreetartabiggerplatform,

resultinginanexplosionofthegenre’scriticaland

popularrecognition.First,Timemagazineincluded

themysteriousstreetartistBanksyonitslistof“gaa

MostInWluentialPeople.”ShepardFairey,famousfor

hisàauObamaHopePresidentialcampaignposter

design,wrote,“Banksy’sworkembodieseverything

Ilikeaboutart.It’saccessible,public,notlocked

away.Hemakessocialandpoliticalstatementswith

asenseofhumor.”15Inàgg,FrenchstreetartistJRwontheprestigious$gaa,aaaTEDPrize

tocreatehisiconic“guerrillaart”installations.16AtthesametimeinLosAngeles,the

MuseumofContemporaryArtwasplanningtheWirst-everlarge-scaleexhibitiondevotedto

grafWiti,muralism,andglobalstreetart.Titled“ArtintheStreets,”theshowopenedinearly

àggandprovokedmaniarangingfromadmirationandexcitementtocriticismandprotest.

Figure8:Artist:Banksy/PhotobytheauthorParkCity,Utah

Naysayerscomplainedthattheexhibitionincreasedillegalactivityintheareassurrounding

themuseum.17Suddenly,streetartwasonthemindsofvastnumbersofunlikelypatrons

aroundtheglobe—andoutsidetheusualartworldchannels.

Alsoduringthistime,smartphoneswerebecomingmoreubiquitous,further

democratizingphotographyandimage-makingacrosssociety.Socialmediabecamethe

defaultspacewheretheseimagesarepublishedandshared.Sixshortyearsafteritsfounding,

Facebookdominatedsocialmedia,boastingvaamillionusersbyàga.18Thephotosharing

app,Instagram,cameonlinethatsameyear,andhasgrowntobecomeoneofthemost

popularsocialmediaplatformsinàgu.19Membersofthestreetartistcommunityoftentell

methattheywouldn’tknowanyoneifitweren’tforsocialmedia,especiallyInstagram.

Anothermassivecelebrationofstreetart,

“TourParisgw,”broughtgavartiststogetherfrom

aroundtheworldtopainteverysurfaceofanold

apartmenttowerslatedfordemolition.Overseven

monthsinàgw,theyworkedtotransformthe

buildingintoamassivecollaborationthatincluded

overtaaworksofart.Theresultingexhibitionwas

limitedtowadays,andmorethan`v,aaavisitors

waiteduptogwhourstoenter.20Viewersdocumented

theirexperiencesofaweandexcitementonsocial

media:aquicksearchforthetag#tourparisgwon

Instagramrevealsoverga,taaimages.Oneofthe

artistparticipants,MearOnefromLosAngeles,toldFigure9:Instagramscreenshot#tourparis13

TheTelegraph,“Wearethenewartists.GrafWitiartistheworld’sbiggestartmovement.In

thegpqas,artwassoelitethatonlytheupperlevelpeoplecoulddoartorappreciate...and

now...thisistheartform.”21Attheendofthewa-dayexhibition,thebuildingwas

demolishedaspromised.Andjustlikethat,everythingtheycreatedwasdestroyed.

StreetArtHunting:TheGame

ItmayseemcounterintuitivetothinkaboutstreetartpracticeasakindofCreative

Placemaking.Alongwithitstypicalmakeupofinstitutionalpartnerships,Creative

Placemakingactivistsoftenmistakenlyassumethatcommunitystability—akindof

permanence—isadesirableoutcome.Butstreetartisephemeralbynature;it’sthereone

dayandbuffedoutthenext.Andmoststreetartistsworkindependently,outsidethe

boundariescommonlyassociatedwithbothartandCreativePlacemaking.Creative

Placemakingpurportstoconnectpeople—tobringneighborstogetherandbuildtiesin

physicalspaces.Butmanystreetartistsusemonikerstomasktheirrealidentities.Because

theyoftenworkatbothendsofthelegalspectrum,theymayusetheirgivennamefor

approvedpublicpaintingsandtheirpseudonymin

othercontexts.Onemightexpectthesefactorsto

stymieeffortstocreateasenseofplace,butthey

serveasthefoundationforStreetArtHunting,a

socialmediagamethatbuildsvirtualandphysical

connectionslocallyandaroundtheworld. Figure10:Artist:Siek/PhotobytheauthorPhoenix,Arizona

InstagramservesasthegamingplatformforStreetArtHuntingandother“hide-and-

seek”games.JeroenTimmermans,seniorpolicyadvisoratErasmusUniversityRotterdam,

describesthewaysinwhichsocialmediafacilitatesplay.Hewrites,“Socialnetworksites

resemblegames,becauseactingonthemischaracterizedbyaplayfulmoodandhasplayful

elementstoit(humor,competition,teasing),butalsobecausetheyconstituteaworldon

theirown.Aworldinwhichwecanexperimentabitwithouridentity,withoutsuffering

immediateanddirectconsequencesoutsideofthecybersphere.”22Socialmedia’sabilityto

renderidentityWluidiskeyto

understandingitsrelationshipto

streetartistsandtheirparadoxical

desireforbothanonymityand

recognition.TheStreetArtHunting

gameonInstagramoffers

opportunitiesforboth.

Likemost,IstumbledunwittinglyintothegameofStreetArtHunting.AtWirst,I

simplywantedtoseemoreartinPhoenix’sstreets.EachWindwasathrill.Seeingtheartin

personwaspartofwhatmadeitsoexciting.Eventually,IbegantoshareimagesoftheartI

discoveredonInstagram.ThemoreartIfound,themorecuriousIbecame.Ifollowedthe

artistswhoseworkIsaw,becauseIwantedtoseemoreoftheirworkandlearnaboutwhat

motivatesandinspiresthem.Ialsolearnedmoreabouttheirsocialnetworksandpersonal

lives.Thisprogression,unbeknownsttome,wasmyinitiationintoStreetArtHunting.New

players,myselfincluded,usuallyhavelittletogoon.Theylackexperience,sotheirWirst

“Winds”areoftenpopular,sanctionedworksinprominentplaces.Perhapstheyencounter

Figure11:Artist:AshleyMaciasforPhxMuralFest2018PhotobytheauthorPhoenix,Arizona

theartunintentionally.However,eachWindprovidesnewinformationsuchasartists’names

ormonikersandtheirInstagramaccounts,andgeneratesmomentumforthenexthunt.

“Allplayhasitsrules,”declaresDutchhistorianJohanHuizinga.23Playmustbe

boundedbyaplaceandatime,andrulesagreeduponbyparticipants.Withoutparameters,

thereisnoframeofreferenceforexercisingone’soptions,andplayerscan’tanticipatethe

actionsofothers.IanBogost,GeorgiaTechprofessorandauthorofPlayAnything,contends

thattherulesofthegamearewhatdrawusin.24OneoftheprimaryrequirementsofStreet

ArtHuntingisthatplayersmustavoidprovidingexactlocations.StreetArtHunting,like

scavengerhunting,isagameofaggregatingcluesthatleadseekerstoaspeciWicphysical

locationinsearchofaprize.Thecluesareprovidedbygameparticipantsthroughtheir

Instagramfeeds.Thechallengeisthrillofthehunt.TheurgencyistheWleetingnatureof

impermanentart.Theeffortisaggregatingclues.And

theprizeisunravelingthemysteryofplace.

Somewould-beplayershopetoskirtthesystem,

anduseInstagramtoaskotherparticipantsdirectlyfor

paintings’locations.Theonlinecommunityusuallyignores

theserequests,effectivelyostracizingtheoffender.

Huizingaaddressesthisphenomenonwhenhedescribes

the“spoil-sport,”whodestroysthegameitself:“hemustbe

castout,forhethreatenstheexistenceoftheplay-

community.”25Withoutadherencetothegame’srules,

socialtieswithintheentiregroupbecomethreatenedand

thecommunityitselfbecomesvulnerable.Figure12:ArtistLaloCota/ScreencapturefromInstagram

Itisn’tenoughthataplayerWiguresoutanartwork’slocation,though,andthenkeep

theirWindtothemselves.TheStreetArtHuntermustpublicizeit.Artworkmustbeseenin

person,photographed,andpostedonInstagramforalltosee,alongwithone’sowncryptic

messageabouttheexperienceofseeingitinperson.Thepointistoacknowledgethe

inherentephemeralityofurbanartandtoemphasizethatonecannotfullyexperienceit

exceptinperson.Theparadoxbetween

thesecrecyaroundproductionandthe

potentialforpublicaccessibilityisakey

driverofaudienceengagement,

participation,andsocialacceptance.

WinnersoftheInstagramStreetArt

Huntbuildtrustandmayeventually

earnadmissiontothein-personclub.

Perhapsduetoitsassociationwithsocialactivism,illegalactivity,andvandalism,street

artcultureisshroudedinmystery.Thisqualityofsecrecyinherentingames26simultaneously

incentivizescontinuedplayforinsidersandexcludestheuninitiated.TherulesofStreetArt

Huntingcreatebarriersthatpoliceentryintothegroup,protectartists’anonymity,andtest

communitymembers’commitment.Keepingstreetartsitessecretcanalsoextendthelifeof

theartwork,especiallyifitwascreatedwithoutpermission.TheCityofPhoenixspendsover$`

millioneachyeartofunditsGraffitiBustersprogram,27contributingtotheephemeralityof

artworksinthecity’surbanspaces.Interestingly,thetensionbetweenart-makersandart-

removersaddstotheallureoftheStreetArtHuntinggame.Playersareinaraceagainstthe

clock;theydon’tknowexactlywhereanartworklives,norhowlongitwillbethere.

Figure13:Artist:MaggieKeane/PhotobytheauthorPhoenix,Arizona(muraldestroyed,thenrecreated)

CreativePlacemakingoccursthroughtheprocessof

playingthegame.Gamersvisitunfamiliarneighborhoodsto

trackdowntheart,andsimultaneouslygainamore

completeperspectiveofthecityitself.Light-hearted

InstagramconversationsbegintoWlowasaStreetArt

Hunterreachesnew“levels”inthegame,allowingpersonal,

ifvirtual,relationshipstoformamongstbothplayersand

artists.Asonenewfriendshipturnsintoanother,and

another,otheraspectsofthePhoenixstreetartcommunity

arerevealed,furtherdeepeningasenseofcommunityand

belonging.

Diversityisakeyfeatureofthegame.I’veobservedandtalkedtoPhoenixstreet

artistsofallages,andfromeveryeconomicbackgroundandeducationlevel.Somehave

formalartstraining,andothersdevelopedtheirskillsonthestreets.Theirracialmakeup

resemblestheoverallcity’spopulation—somethingmanyconventionalartssectors

cannotclaim.Forexample,Hyperallergicreportedin2017that80.5%ofartists

representedbyNewYorkCitygallerieswerewhite.28Incontrast,artistsofcolormadeup

55%oftheparticipantsin2018’sPhoenixMuralFestival.Phoenix-basedstreetartists

livealloverthecityaswell,andcomefromallkindsofneighborhoods.Embeddedinthe

StreetArtHuntinggameistheopportunitytogetoutsideone’scomfortzoneand

experiencemuchofwhatacityhastooffer.

Figure14:Streetarthunter+artistAWERwithAztecSmurf,Faust,andGorizona/Instagramscreenshot/Phoenix,Arizona

AsplayersadvanceasStreetArtHunters,theyprovethemselvesasworthyinitiates

intothein-personcommunity.Hunterseventuallygatherenoughknowledgeofthecityand

evidencefromInstagramtoWindworksinprogressorevencatchanartistatasitewhile

they’reworking.Discoverieslikethesearerareandsignaldeepfocusanddedicationinthe

StreetArtHunter.Meetinganartistonsite,inperson,isexhilarating.ThatWirstpersonal

introductionisthekeytofuture

meetups,andsuddenlytheplayeris

welcomedintothecommunity’sfold.

Eventinvitesstarttorollin,messages

arereturned,andfriendshipsare

formedalongtheway.

Conclusion

StreetArtHuntingisCreativePlacemaking—withoutinstitutionaloversight,intrusion,or

funding.Discoveringartinthestreetsisonlypartofthejoyofplayingthegame.Itdrawsits

playerstounknownneighborhoods,offeringanewperspectiveonaplacetheymayhave

assumedtheyknewwell.Participantslearnnewthingsabouttheplace,andtheirbond

withitdeepens.Theybegintoseemoreofwhatisalreadythere;Windnewappreciationfor

theirneighborsandtheircontributionstothelocalculture;andcreatepersonalfriendships

acrosslinesofrace,language,oreconomicstatus.StreetartistsandStreetArtHuntersdon’t

needofWicialsororganizationstoshowthemhowtoaccomplishthegoalsofCreative

Placemaking.Everyonewhoplaysisalreadymakingthecitywhattheywantittobe—

Figure15:Artists:SCBCrew/Photobytheauthor/Phoenix,Arizona

whilemakingnoefforttoWitwithinsomeotherframeworkfromsomewhereelse.StreetArt

Huntingcelebratesthecityanditspeopleastheyare;notasthoseinpowerwishitwould

be.Familiarityandfriendshipbreedscomfort,andwebegintoreallybelongtoaplacewhen

thetwoconverge,asintheInstagramgameofStreetArtHunting.I’velivedinninestates,

andwhoknowshowmanydifferentneighborhoodsinmylifetime.Itwasonlyafterplaying

theStreetArtHuntinggameinPhoenix,ArizonathatIeverfeltastrulyathomeinaplace

asIdonow.

Footnotes

1.FritzSteele,TheSenseofPlace(Boston:CBIPublishingCompany,Inc.,1981),53–62. 2.Steele,183–199.

3.RichardFlorida,TheRiseoftheCreativeClass(revisited),(NewYork:BasicBooks,

2012),9. 4.RichardFlorida,TheNewUrbanCrisis:HowOurCitiesAreIncreasingInequality,DeepeningSegregation,andFailingtheMiddleClassandWhatWeCanDoAboutIt,(NewYork:BasicBooks,2017). 5.RichardFlorida,“TheCaseforInclusiveProsperity,”(keynote,CEOsforCitiesConferenceinPhoenix,AZ,November1,2017).

6.PeterKageyama,FortheLoveofCities:TheLoveAffairbetweenPeopleandTheir

Places(St.Petersburg,Florida:CreativeCitiesProductions,2011),41. 7.MichaelSchneider,“GoogleEmployeesWeighedInonWhatMakesaHighlyEffectiveManager(TechnicalExpertiseCameinLast),”Inc.,accessedJune20,2018.https://www.inc.com/michael-schneider/google-did-an-internal-study-that-will-forever-change-how-they-hire-and-promote-.html?cid=search.

8.JasonSchupbach,“So,HowDoYouDoCreativePlacemaking?”inHowtoDoCreativePlacemaking,eds.JasonSchupbachandDonBall(WashingtonD.C.:NationalEndowmentfortheArts,2016),1-3.

9.RobertoBedoya,“PlacemakingandthePoliticsofBelongingandDis-belonging,”

GIAReader24no.1(2013):accessedJune21,2018.https://www.giarts.org/article/placemaking-and-politics-belonging-and-dis-belonging.

10.JennaMoran,“TheRoleofPerformingArtsinPlace,”inHowtoDoCreative

Placemaking,eds.JasonSchupbachandDonBall(WashingtonD.C.:NationalEndowmentfortheArts,2016),31.

11.JeffreyDeitch,“ArtintheStreets,”inArtintheStreets,curatorsJeffreyDeitch,

RogerGastman,AaronRose(NewYork:SkiraRizzoli,2011),10.12.JeffFerrell,“TheClampdown:GraffitiasCrime,”InCrimesofStyle:Urban

GraffitiandthePoliticsofCriminality,(Boston:NortheasternUniversityPress,1993):115–125. 13.DianaNelsonJones,“InfamousPittsburgh‘tagger’TransformsWorkafterJail,”PittsburghPost-Gazette,June28,2010,accessedJune14,2018.http://www.post-gazette.com/local/city/2010/06/28/Infamous-Pittsburgh-tagger-transforms-work-after-jail/stories/201006280183.

14.GregBeato,“ArtfortheMasses!HowJuxtapozMagazineSparkedaLowbrowArt

Revolution,”Reason.com:FreeMindsandFreeMarkets,May26,2009,accessedJanuary15,2018.https://reason.com/archives/2009/05/26/art-for-the-masses. 15.ShepardFairey,“Banksy,”Time,April29,2010,accessedJanuary15,2018.https://content.time.com/time/specials/packages/article/0,28804,1984685_1984940_1984945,00.html. 16.RandyKennedy,“AwardtoArtistWhoGivesSlumsaHumanFace,”NewYorkTimes,October19,2010,accessedJanuary15,2018.http://www.nytimes.com/2010/10/20/arts/design/20ted.html

17.AdamNagourney,“AdmirersCallItArt,butthePoliceCallItaProblem,”The

NewYorkTimes,April22,2011,accessedJune14,2018.https://www.nytimes.com/2011/04/23/us/23graffiti.html. 18.RobinWauters,“ZuckerbergMakesItOfficial:FacebookHits500MillionMembers,”TechCrunch,July21,2010,accessedJanuary16,2018.https://techcrunch.com/2010/07/21/facebook-500-million/.

19.JaysonDeMers,“WhyInstagramistheTopSocialPlatformforEngagement(AndHowtoUseIt),”Forbesonline,March28,2017,accessedFebruary9,2018.https://www.forbes.com/sites/jaysondemers/2017/03/28/why-instagram-is-the-top-social-platform-for-engagement-and-how-to-use-it/#7416397236bd.

20.LaTourParis13,directedbyThomasLallier(2016;WarsawFilmFestival,

Poland,accessedMarch20,2018),Netflix. 21.“StreetartiststurncondemnedParistowerintosprawlingartinstallation,”TheTelegraph,October25,2013,accessedJune14,2018.https://www.telegraph.co.uk/news/worldnews/europe/france/10403913/Street-artists-turn-condemned-Paris-tower-in-to-sprawling-art-installation.html.

22.JeroenTimmermans,“PlayingwithOthers:TheIdentityParadoxesoftheWeb

asSocialNetwork,InPlayfulIdentities:TheLudificationofDigitalMediaCultures,eds.ValerieFrissen,SybilleLammes,MichieldeLange,JosdeMul,andJoostRaessens(Amsterdam,AmsterdamUniversityPress,2015),289.

23.JohanHuizinga,HomoLudens:AStudyofthePlay-ElementinCulture(London:

Routledge&KeganPaulLtd.,1949),11.24.IanBogost,PlayAnything:ThePleasureofLimits,theUsesofBoredom,andthe

SecretofGames(NewYork:BasicBooks,2016),PDFebook,chap.5.25.Huizinga,11.26.Huizinga,12.27.ZiyiZeng,“PhoenixSpends$2MillionaYeartoWipeOutGraffiti,Reduce

Blight,”CronkiteNews,February18,2016,accessedJune26,2018,https://cronkitenews.azpbs.org/2016/02/18/phoenix-graffiti-cleanup/

28.HragVartanian,“StudyClaims80.5%ofArtistsRepresentedbyNYC’sTop45

GalleriesAreWhite.”Hyperallergic,June1,2017.https://hyperallergic.com/382547/study-claims-80-5-of-artists-represented-by-nycs-top-45-galleries-are-white/

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Bedoya,Roberto.“PlacemakingandthePoliticsofBelongingandDis-belonging.”GIAReader24no.1,2013.https://www.giarts.org/article/placemaking-and-politics-belonging-and-dis-belonging.

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