Finding Your Voice in the Streets: Street Art and Epistemic Injustice

Bacharach, Sondra

doi:10.1093/monist/onx033

Cited by 23 publications

(10 citation statements)

References 3 publications

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“…In this sense, even works that do not carry explicit political content are socio-political interventions aiming at changing the status quo. Bacharach (2018) further develops the discussion of street art's activist value by connecting the practice of street art to matters of epistemic injustice. In some contexts, as a consequence of certain social and political prejudices, members of specific groups are excluded from the circulation of knowledge (McKinnon, 2016).…”

Section: What Is the Value Of Street Art?mentioning

confidence: 99%

Philosophy of Street Art: Identity, Value, and the Law

Baldini

2022

Philosophy Compass

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We are living in the era of street art. Since Nick Riggle’s pivotal work on the definition of street art, several philosophers have addressed issues in the philosophy of street art. The goal of this paper is to summarize the literature. I consider the following matters, which have been at the core of philosophical discussions on street art: demarcation, value, illegality, and the ethical foundation of intellectual property (IP) protection. In answering the question ‘What is street art?,’ philosophers have generally resisted skeptical approaches by developing a wide range of real and essentialist definitions of street art (Section 2). When considering street art’s value, I distinguish between aesthetic and non‐aesthetic centered accounts. If the former focus on the aesthetic side of our experience of street art, the latter generally place emphasis on its activist nature and political significance (Section 3). In discussing the relationship between street art and illegality, I canvas different takes on the issue. If for some scholars illegality is either a necessary or sufficient condition for street art, philosophers tend to agree that it is neither, while not denying its relevance at the level of identity and authenticity (Section 4). Finally, I consider matters of IP protection of street art. On the one hand, copyright optimists defend the view that current IP legislations may very well have a positive impact on the promotion and preservation of street art. Pessimists, on the other hand, argue that an extension of copyright privileges to works of street art is likely to jeopardize the counter‐cultural and rebellious nature of this urban art kind (Section 5).

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Section: What Is the Value Of Street Art?mentioning

confidence: 99%

Philosophy of Street Art: Identity, Value, and the Law

Baldini

2022

Philosophy Compass

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“…Methodologically, we draw on the work of Bacharach (2018), who used street art to address epistemic injustice and the negative identity prejudices that silence certain groups of people. our aim was to use graffiti as a peaceful tool to convey a political message while at the same time considering the sensitive political climate in Zimbabwe.…”

Section: Participatory Arts For Political Voice and Aspirationsmentioning

confidence: 99%

Participatory art for navigating political capabilities and aspirations among rural youth in Zimbabwe

Mkwananzi

Cin

Marovah

2021

Third World Quarterly

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While exploring the everyday experiences of Tonga youth, this paper draws on a participatory graffiti-on-board project in Binga, a rural community in Zimbabwe. Focus is placed on what shapes and drives youth aspirations in precarious contexts marked by unemployment and poverty. Using graffiti to create participatory and artistic engagements, the research aims to stretch the limited boundaries of social and political space available to the youth for discussing issues that concern their development pathways and livelihoods. The article presents everyday narratives that impact on Tonga youths' aspirations, endeavouring to create a space where they can visualise their prospective futures. Additionally, exhibition spaces are seen as sites for the construction of a collective voice and political capabilities for the youth. We argue that aspirations among disadvantaged youth evidence the broader geopolitical conflict that exists in marginalised communities in Southern Africa. A lack of spaces to construct political voice among the youth curtails their capabilities and agency to choose from existing development opportunities in an uncertain future. We discuss the potential role of participatory art in relation to this in providing spaces for political voice, unsettling established power dynamics and developing a collective, unified voice that might influence governance processes in fragile contexts.

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“…15). But, more poignant examples have been offered by recent literature on street art, which argued that appropriating space with certain forms and design may very well generate the type of social response that characterizes social protest art (Bacharach 2018;Baldini 2018Baldini , 2015.…”

Section: Cooking and Dining As Social Protest Artmentioning

confidence: 99%

Cooking and dining as forms of public art

Borghini

Baldini

2021

Food, Culture & Society

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This paper addresses the yet unexplored question of whether cooking and dining are sometimes a form of public art. After introducing the main question ( §1), we rehearse key characteristics of public artworks, most importantly accessibility, theme, and elicited responses ( §2). We then argue that some instances of cooking and dining meet such conditions ( §3). Hence, we vet the pros and cons of three avenues to support cooking and dining as a form of public art: through subsidies to cooks; through museums and art events; and through establishing a novel form of dedicated venues ( §4).

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Finding Your Voice in the Streets: Street Art and Epistemic Injustice

Cited by 23 publications

References 3 publications

Philosophy of Street Art: Identity, Value, and the Law

Philosophy of Street Art: Identity, Value, and the Law

Participatory art for navigating political capabilities and aspirations among rural youth in Zimbabwe

Cooking and dining as forms of public art

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