street art hunting: instagram and the …...social organizations or public officials. this position...
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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$232,000inrestitution.In
aninterviewduringhisincarceration,hesaid,“I
alwayswantedtheworldtobeacertainway,
andwhenitwasn’t,Itriedtoforceit.ButI’m
learningtoaccepttheworldthewayitis.It’s
greaterthanmeandI’mnevergoingtowin.”13
Ononehand,artistsincludingMFONE
experienceongoingsystematicpunishmentfor
theircreativework.Ontheother,muralism,
grafWitiwriting,andotherkindsofstreetarthave
seenexponentialgrowthinpopularityandFigure7:JuxtapozmagazinecoverSpring2018#206
culturalinWluenceoverthepastdecade.Asfarbackasgppt,Juxtapozmagazinebeganto
offersomelegitimacytoundergroundartistsinCalifornia.Stillinpublicationin`agu,it
featuresskate-,surf-,andhotrod-inspiredwork,inadditiontografWiti,streetart,andother
illustration-basedgraphicforms.By`aapithadhighercirculationthananyotherart
magazineintheU.S.duetoitsfocusonpopularculture,commercialarts,tattoos,and
comics.14Unlikehigh-endgalleriesandartdealers,themagazinecontinuestomakeart
accessiblebyofferingaffordablewaysforeverydaypeopletobuyandkeepitfor
themselves.
Severalfactorsconvergedin`agathatgave
muralism,grafWiti,andstreetartabiggerplatform,
resultinginanexplosionofthegenre’scriticaland
popularrecognition.First,Timemagazineincluded
themysteriousstreetartistBanksyonitslistof“gaa
MostInWluentialPeople.”ShepardFairey,famousfor
his`aauObamaHopePresidentialcampaignposter
design,wrote,“Banksy’sworkembodieseverything
Ilikeaboutart.It’saccessible,public,notlocked
away.Hemakessocialandpoliticalstatementswith
asenseofhumor.”15In`agg,FrenchstreetartistJRwontheprestigious$gaa,aaaTEDPrize
tocreatehisiconic“guerrillaart”installations.16AtthesametimeinLosAngeles,the
MuseumofContemporaryArtwasplanningtheWirst-everlarge-scaleexhibitiondevotedto
grafWiti,muralism,andglobalstreetart.Titled“ArtintheStreets,”theshowopenedinearly
`aggandprovokedmaniarangingfromadmirationandexcitementtocriticismandprotest.
Figure8:Artist:Banksy/PhotobytheauthorParkCity,Utah
Naysayerscomplainedthattheexhibitionincreasedillegalactivityintheareassurrounding
themuseum.17Suddenly,streetartwasonthemindsofvastnumbersofunlikelypatrons
aroundtheglobe—andoutsidetheusualartworldchannels.
Alsoduringthistime,smartphoneswerebecomingmoreubiquitous,further
democratizingphotographyandimage-makingacrosssociety.Socialmediabecamethe
defaultspacewheretheseimagesarepublishedandshared.Sixshortyearsafteritsfounding,
Facebookdominatedsocialmedia,boastingvaamillionusersby`aga.18Thephotosharing
app,Instagram,cameonlinethatsameyear,andhasgrowntobecomeoneofthemost
popularsocialmediaplatformsin`agu.19Membersofthestreetartistcommunityoftentell
methattheywouldn’tknowanyoneifitweren’tforsocialmedia,especiallyInstagram.
Anothermassivecelebrationofstreetart,
“TourParisgw,”broughtgavartiststogetherfrom
aroundtheworldtopainteverysurfaceofanold
apartmenttowerslatedfordemolition.Overseven
monthsin`agw,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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