Street Art & Urban Creativity Scientiic Journal Methodologies for Research Vol. 1 / Nº 1 Urbancreativity.org Title: Street Art & Urban Creativity 6FLHQWLðF-RXUQDO (GLWRUV 3HGUR6RDUHV1HYHV 'DQLHOD9GH)UHLWDV6LPŋHV &RS\(GLWLQJ 6XVDQ+DQVHQ *UDSKLF'HVLJQ 3HGUR6RDUHV1HYHV ĝ$XWKRUVDQG(GLWRUV /LVERQ1RYHPEHU ,661 $OOULJKWVUHVHUYHG1RSDUWRIWKLVERRNPD\EHUHSURGXFHG LQ DQ\ IRUP E\ DQ\ HOHFWURQLF RU PHFKDQLFDO PHDQV LQFOXGLQJSKRWRFRS\LQJUHFRUGLQJRULQIRUPDWLRQVWRUDJH DQGUHWULHYDO ZLWKRXWZULWWHQSHUPLVVLRQIURPWKHHGLWRUV Street Art & Urban Creativity International Research Topic Table of contents Editorial Notes Pedro Soares Neves, Daniela V. de Freitas Simões - Street Art & Urban Creativity 4 Methodologies for Research Jacopo Leveratto, Department of Architecture and Urban Studies - Politecnico di Milano Planned to be reclaimed: Public design strategies for spontaneous practices of spatial appropriation 6 David Novak, University of Malaya, Cultural Centre, Kuala Lumpur, Malaysia 7OV[VNYHWO`HUKJSHZZPÄJH[PVUVMPUMVYTH[PVU!7YVWVZLKMYHTL^VYRMVY.YHɉ[P(Y[ 13 Susan Hansen, Danny Flynn, Middlesex University, London Metropolitan University 3VUNP[\KPUHSWOV[VKVJ\TLU[H[PVU!9LJVYKPUNSP]PUN^HSSZ 26 Ulrich Blanché, Heidelberg University, Germany :[YLL[(Y[HUKYLSH[LK[LYTZ¶KPZJ\ZZPVUHUK^VYRPUNKLÄUP[PVU 32 Martin de la Iglesia, Heidelberg University, Institute for European History of Art ;V^HYKZ[OLZJOVSHYS`KVJ\TLU[H[PVUVMZ[YLL[HY[ 40 Larissa Begault, Julia Borowicz, Parsons School of Design - The New School, New York 4L[OVKVSVNPLZMVYYLJVUZ[Y\J[PUNUL^SHUKZJHWLZVMJVUZ\TW[PVUHUKWYVK\J[PVU 50 Vittorio Parisi, Université Paris 1, Panthéon-Sorbonne, Aesthetics and Cultural Studies Institut - ACTE ;OL:L_VM.YHɉ[P¶<YIHUHY[^VTLUHUK¸NLUKLYWLYJLW[PVU¹![LZ[PUNIPHZLZPU[OLL`LVM[OLVIZLY]LY 53 (U[QL(RRLYTHUUUVHɉSPH[PVUWYV]PKLK)LYSPU¸¯HUK0^HU[[VWHPU[P[ISHJR&¹>OH[Z[YH[LNPLZHYL[OLYL[V \UKLYTPUL[OLYLJSHTH[PVUVMZ[YLL[HY[MVYWYVÄ[HUKZ\WWVY[W\ISPJLUNHNLTLU[MVY[OLPU[LYLZ[ZVMJP[PaLUZ& 63 Basma Hamdy, Graphic Design Department, Virginia Commonwealth University in Qatar >HSSZVMMYLLKVT!7YVJLZZHUKTL[OVKVSVNPLZ 67 Liliana Arroyo Moliner, Eticas Research & Consulting, Barcelona The hands behind the cans 80 Johanna Steindorf, Bauhaus-Universität Weimar, Germany <UMVSKPUN:WHJLZVM4`4LTVY`!-LTHSL4PNYH[PVU[OYV\NO(\KPV 92 Elena García Gayo, Cultural Property Conservator and Restorer in Council of Ciudad Real, Spain Street art conservation: The drift of abandonment 99 (Y[PJSL9L]PL^ Katja Glaser, Locating Media, University of Siegen, Germany 9L]PL^LKHY[PJSL!+LY^HUa/:[YLL[(Y[PZ[Z*HYLLYZVU[OL(Y[HUK+LZPNU4HYRL[Z 101 SAUC - Journal V1 - N1 Methodologies for Research :JPLU[PÄJ*VTTP[[LL Andrzej Zieleniec, Keele University, UK Christian Omodeo, Université Paris-Sorbonne, France Domenica Arcuri, Università degli Studi di Napoli L’Orientale, Italy Eirik Sjåholm Knudsen Department of Strategy and Management, School of Economics, Norway Heike Derwanz, HafenCity University Hamburg, Germany Ilaria Hoppe, Institut for Art and Visual History, Humboldt Universitat, Germany Javier Abarca, Complutense de Madrid, Spain Jacob Kimvall, Stockholm University, Sweden Graeme Evans, Middlesex University, School of Art & Design, UK Laura Iannelli, University of Sassari, Italy Laura Novo de Azevedo, Oxford Brookes University, England Lachlan MacDowall, Centre for Cultural Partnerships, University of Melbourne, Australia Luca Borriello, PhD - Sapienza - Università di Roma, Italy Maria João Gamito, Faculdade de Belas da Universidade de Lisboa, Portugal 4HYNHYPKH)YP[V(S]LZ-HJ\SKHKLKL*PvUJPHZ:VJPHPZL/\THUHZKH<UP]LYZPKHKL5V]HKL3PZIVH7VY[\NHS Nick Dunn, Lancaster Institute for the Contemporary Arts, Lancaster University, UK Peter Bengtsen, Art History and Visual Studies, Lund University, Sweden Ronald Kramer, University of Auckland, New Zealand Seminar quantitative report: 198 inscriptions; 12 nationalities present; PT; ES; IT; DE; GE; SW; UK; USA; AU; FR; DN; ZWLHRLYZRL`UV[LZKLSLNH[LZTLTILYZVML_LJ\[P]LJVTTPZZPVU" ]LU\LZPU/PZ[VYPJHS3PZIVUJLU[LY-PUL(Y[Z-HJ\S[`HUK4V\YHYPH*YLH[P]L/\I" 1V\YUHS=VS\TLX\HU[P[H[P]LYLWVY[! 64 received abstracts 31 full articles received 15 accepted articles without changes 12 accepted articles with changes *VU[HJ[HUKPUMVYTH[PVU info@urbancreativity.org Urbancreativity.org 5 SAUC - Journal V1 - N1 Methodologies for Research ;OL:L_VM.YHɉ[P <YIHUHY[^VTLUHUK¸NLUKLYWLYJLW[PVU¹! testing biases in the eye of the observer Vittorio Parisi PhD Candidate, Université Paris 1 Panthéon-Sorbonne Aesthetics and Cultural Studies 0UZ[P[\[(*;,¶(Y[Z*YtH[PVUZ;OtVYPLZ,Z[Ot[PX\LZ*59: 47, rue des Bergers, 75015 Paris, France vittoparisi@gmail.com (IZ[YHJ[ 0U[OPZWHWLY0L_WSVYL[OLPU[LYZLJ[PVUIL[^LLU\YIHUJYLH[P]P[`HUKNLUKLYZ[\KPLZ[OYV\NOHJVTWVZP[LTL[OVKVSVN`HUK ^P[OHKV\ISLW\YWVZL![VL_HTPUL[OLYVSLHUK[OLYLJVNUP[PVUVM^VTLUPU[OLNYHɉ[PHUKZ[YLL[HY[TPSPL\"HUK[V[LZ[[OL L_PZ[LUJL[OLL_[LU[HUK[OLX\HSP[`VMNLUKLYIPHZLZPU[OLL`LVM[OLVIZLY]LY0UVYKLY[VHJJVTWSPZO[OLZL[^V[HZRZ0 L_HTPULKL_PZ[PUNSP[LYH[\YL[YLH[PUN[OLZ\IQLJ[HUKJYLH[LKH]PZ\HSZ\Y]L`6IZLY]H[PVUZHUKYLZ\S[ZMYVTLHJOZ[LWVM[OL WYLZLU[^VYRYL]LHSHNLULYHSSHJRVMYLJVNUP[PVUVM^VTLU»ZYVSLPUZ[YLL[HY[HUKNYHɉ[PHZ^LSSHZHYLTHYRHISLHTV\U[VM NLUKLYWYLJVUJLW[PVUZK\YPUNTLYLHLZ[OL[PJHWWYLJPH[PVUVM\YIHU^VYRZVMHY[ 2L`^VYKZ!.YHɉ[P:[YLL[(Y[.LUKLY:[\KPLZ7LYJLW[PVU>VTLU:L_ 0U[YVK\J[PVU NYHWO KLHSPUN [OVYV\NOS` ^P[O NYHɉ[P HUK NLUKLY Z[\KPLZ has been written by British ethnologist Nancy MacDonald ;OLHTV\U[VM\UZVS]LKKLIH[LZHYV\UK[OLYLKLÄUP[PVUVM ^OVPU[LY]PL^LKMLTHSL^YP[LYZSPRL3HK`7PUR*SH^ urban art is as copious as it is thrilling: since the outburst of HUK(RP[HUKUL]LY[OLSLZZKYL^HUHUHS`ZPZVMNYHɉ[PHZH MLZ[P]HSZHUK[OLTLKPHV]LYL_WVZ\YLVMZ[YLL[HY[HUKNYHɉ[P form of “display of masculinity”. Nevertheless, the present K\YPUN [OL SHZ[ ÄM[LLU `LHYZ HJHKLTPH PZ [Y`PUN [V WYV]PKL research aims to inform about street art and gender studies new historical, philosophical and sociological interpretation through an unedited approach. to a certain amount of conundrums. To name a few: the entrance of urban art in museums, galleries and private collections; the transition from an unconventional expressive phe- 0U[OLÄYZ[WSHJLKLZWP[L[OLJOVZLU[P[SL[OPZZ[\K`PZUV[ SPTP[LK[VNYHɉ[P^YP[PUN![OL^VYK¸NYHɉ[P¹PZOLYLLTWSV`LK nomenon to a widely recognized art form; and its increasing PU H JVU]LU[PVUHS HSSLTIYHJPUN MHZOPVU TLHUPUN KPɈLYLU[ institutionalization despite an original aura built upon illicit- types, styles, scales and techniques of contemporary urban ness and the ephemeral. The very last years came along with art, including muralism, stenciling, installation/sculpture, some new, fascinating challenges. One of those may arise, ÄN\YH[P]LHUKHIZ[YHJ[Z[YLL[WHPU[PUNHUKZVVU(ZLJVUK for instance, from the intersection between urban creativity and gender studies: that is exactly where this work begins. KPɈLYLUJLIL[^LLU[OPZ^VYRHUKP[ZWYLJ\YZVYZSH`ZPU[OLPY YLZWLJ[P]L W\YWVZLZ :VJPVSVNPJHS :[VJRLY L[ HS   L[OUVNYHWOPJHS 4HJ+VUHSK  WZ`JOVSVNPJHS 2PUZL` :\JOHUPU[LYZLJ[PVUPZUV[HU\UL_WSVYLKÄLSK!L]LUHZ\WLY-  "+\UKLZ JYPTPUVSVNPJHS;YHOHUVYMLTP- ÄJPHSIPISPVNYHWOPJHSZ\Y]L`HSSV^ZVUL[VJOLJR[OH[ZVTL UPZ[9VZL^HYULHWWYVHJOLZWH`H[[LU[PVU[V[OLTV- preliminary approaches have already been led during the tives of the writers – who are rarely considered as artists -PM[PLZZ[HY[PUN^P[O(SMYLK2PUZL` (SZVHÄYZ[TVUV- and consistently observed as simple means of data collec SAUC - Journal V1 - N1 tion – in order to describe gender dynamics within their ac- Methodologies for Research solicited to guess it, what would their response be? tions and activities. On the contrary, the present research aims to stress the relevance of urban artworks’ styles and <YIHUHY[IL[^LLUHUKYVJLU[YPZT aesthetics, in order to test gender perceptions in the eye of and gendered aesthetics the observer. In other words, I am not considering here the ^YP[LYHY[PZ[»ZZ[HUKWVPU[I\[YH[OLY[OH[VM[OLNYHɉ[PZ[YLL[ The world and history of Western art have for a long time art spectator. The main questions here being: in which mea- known a clear disparity between women and men (Nochlin, sure can a street artwork express or reveal masculinity or  (Z3PUKH5VJOSPUW\[ZP[PUOLYNYV\UKIYLHRPUN  femininity? Which place do gender, sex, eroticism or even essay “Why have there been no great women artists?”: pornography occupy in urban creativity? Which is the role of things as they are and as they have been, in the arts as in a style and aesthetics? hundred other areas, are stultifying, oppressive and discouraging to all those, women among them, who did not have the One can perhaps ask why this study limits its observations good fortune to be born white, preferably middle class and, to urban artworks and whether the question of gender per- HIV]LHSSTHSL5VJOSPU ! ception does not rather concern the entire domain of visual The causes, according to Nochlin, have to be sought in a HY[Z:\JOWOLUVTLUHHZNYHɉ[PHUKZ[YLL[HY[HYLPUKLLKH status quo made of a vast dark bulk of shaky idées reçues X\P[LÄ[[PUNJHZLMVYV\YW\YWVZLZ!SL[\ZPTHNPULZ[HUKPUN about the nature of art and its situational concomitants, in front of a “conventional” artwork, canvas or installation, about the nature of human abilities in general and of human that we have never seen before and that is “conventionally” excellence. exhibited inside a whitecube space, like a museum or a gal- Though such a disparity remains evident today in several lery. In most cases, we have access to information about the social and cultural environments, the rise of feminist move- sex of the artist: while looking at an artwork in those spaces TLU[ZK\YPUN[OL[OJLU[\Y`SLK^VTLU[VNHPUPUÅ\LUJL we are constantly surrounded by labels and biographical in the arts, including contemporary visual arts. 2 UV[LZ HUK ^L YHYLS` ÄUK V\YZLS]LZ ^VUKLYPUN ^OL[OLY HU artwork has been made by a man or a woman. Let us sup- What about urban art, then? Interviewed for British newspa- pose now to bump into a parietal artwork located in an ur- WLY ;OL 0UKLWLUKLU[ PU  NYHɉ[P WOV[VNYHWOLY 4HY[OH IHUJVU[L_[<USLZZ^LHYLNYHɉ[PVYZ[YLL[HY[JVUUVPZZL\YZ Cooper stated that, if formerly women represented 0.1% of the sex of the artist will always remain undisclosed because NYHɉ[P^YP[LYZHUKZ[YLL[HY[PZ[ZWLYOHWZ[VKH`[OL`HYL[OL of the almost certain lack of written indications. The same  would occur when in front of signed/tagged artwork: is it re- to be statistically relevant: they just aim to stress an undeni- HSS`WVZZPISL[VN\LZZ[OLZL_VM^VYRZI`THU:^VVU able situation of minority. Estimating an actual and accurate ^VTHU 2HZOPUR ^VTHU VY ?VVV_ THU VUS` [OYV\NO their signatures? >`H[[6MJV\YZL*VVWLY»ZU\TILYZKVUV[TLHU men/women ratio would require a considerable amount of ÄLSK^VYR PU VYKLY [V [HRL PU[V HJJV\U[ HZ THU` \UKLYYLWresented artists as possible throughout the world. Another The widespread habit of the tag among writers and street ^H` Z\YLS` TVYL HWWYV_PTH[L I\[ `L[ ZPNUPÄJHU[ PZ MVY PU- artists implies an actual concealment of the artist’s sex – ex- stance, to check how and how much women are taken into cept, of course, when the artist decides to add clues to their account by the urban art “establishment” – i.e., books, mu- tags: Mr. Brainwash, Miss Van, Miss Tic, Monsieur Chat, Ma- seums and galleries exhibitions, media coverage, etc. dame Moustache, Lady Pink, etc., or when they simply use their actual names (Maya Hayuk, Barry McGee, Nuria Mora, It just takes one to survey any specialized book in order to (NVZ[PUV0HJ\YJP4HNKH:H`LNL[J HZJLY[HPUZ[YLL[HY[HUKNYHɉ[P»ZHUKYVJLU[YPZT3L[\ZJVUsider, for instance, three major publications having the ex- The choice of hiding one’s gender or not may have interest- plicit purpose of serving as world indexes or anthologies of ing reasons and perhaps correspond to a particular will or Z[YLL[HUKNYHɉ[PHY[PZ[Z;OLÄYZ[PZ¸.YHɉ[P>VYSK:[YLL[HY[ statement. Nevertheless, when every possible clue is con- MYVT[OLÄ]LJVU[PULU[Z¹I`5PJOVSHZ.HUa6US` cealed, would the observer wonder about the artist’s sex? If out of 144 artists taken into account by the book are women, 54 SAUC - Journal V1 - N1 Methodologies for Research “From style writing to art” 1[OLHU[OVS- as public sites, but rather as apt targets for the projection ogy curated by French gallerist Magda Danysz, does not of their ideas and agendas at the expense of others: in the show any substantial change: 4 women out of 46 artists, i.e., process allowing a public space to become male space that 8.7%. Nor does most recent “World Atlas of Street Art and can prove exclusionary for women. This ‘branding’ of public .YHɉ[P¹I`9HMHLS:JOHJ[LYHUK1VOU-LRULY!HY[- space through advertising parallels the motives and implied ists out of 97 are women, with a share of 3.1%. JSHPTZ Z[HRLK I` NYHɉ[P ^YP[LYZ V]LY W\ISPJ ZWHJL 9VZL- i.e., 7.6%. 3 ^HYUL! In addition to underrepresentation, Nancy MacDonald’s ethUVNYHWOPJHSYLZLHYJONP]L\ZHUPUKLW[OHJJV\U[VM ZVTL NLUKLY K`UHTPJZ ^P[OPU [OL NYHɉ[P TPSPL\ /LY THPU Z[HUKWVPU[ILPUN[OLLTWSV`TLU[VMNYHɉ[PI`^YP[LYZHZH TLHUZ[V¸JVUZ[Y\J[HUKJVUÄYT[OLPYTHZJ\SPULPKLU[P[PLZ¹ ;OL [YLH[TLU[ VM NLUKLY KPZJYPTPUH[PVU ^P[OPU NYHɉ[P PZ [O\Z]LY`KPɈLYLU[IL[^LLU9VZL^HYUL»ZHUK4HJ+VUHSK»Z HUHS`ZLZ;OLMVYTLYZLLZNYHɉ[P^YP[PUNHZHMVYTVM]PVSLU[ and sexualized possession of the public space, carried by a 4HJ+VUHSK! 4HJ+VUHSKNVLZHOLHKI`VIZLY]- male community. The latter, on the other hand, aims to stress ing what happens when women penetrate a predominantly WO`ZPJHS KPɈLYLUJLZ IL[^LLU [OL [^V ZL_LZ HUK ^VTLU»Z male subculture. Her methodology implies direct contact aptitude to face concrete dangers like being pursued by the with the artists, both men and women, through interviews. police, moving quickly through viaducts and railways, and 4VZ[VM[OLJVSSLJ[LKHUZ^LYZYL]LHS[OLPKLHVMNYHɉ[P^YP[- so on. Nonetheless, MacDonald provides us with interesting ing as a dangerous activity, therefore not particularly suitable data concerning visual discrimination as well. In other words: for women. It is noteworthy that this kind of statement does she raises the question of a male and a female aesthetics not only come from men, but from women as well: MacDon- ^P[OPU NYHɉ[P ^YP[PUN SPRL PU HU PU[LY]PL^ ^P[O NYHɉ[P ^YP[LY HSK!VIZLY]LZ[OH[¸;OLMLTHSL^YP[LY»Z[HZRPZH KPɉJ\S[VUL4HSL^YP[LYZ^VYR[VWYV]L[OL`HYLºTLU»I\[ -YLLKVT^OLYL4HJ+VUHSK!YLWVY[Z[OH[MLTHSL ^YP[LY3HK`7PUROHK[VX\P[¸WHPU[PUNÅV^LYZ¹PUVYKLY[VIL female writers must work to prove they are not ‘women.’” It accepted in the crew: she had to “paint like a guy2.” This follows that if being a male writer is an assertion of masculin- conversation gives us important information about the ac- ity, being a female writer is a negation of femininity. ceptance rituals a girl should submit to in order to join a graf- (UHSVNV\ZS` WVSP[PJHS ZJPLU[PZ[ 3H\YLU 9VZL^HYUL  Ä[PJYL^I\[H[[OLZHTL[PTLP[PZ[OLÄYZ[HUKVUS`L_JLYW[ in MacDonald’s study where a distinction is made between YLHKZ NYHɉ[P HZ H Z[H[LTLU[ VM ]PYPSP[` I\[ Z\ITP[Z P[ [V H men and women: a distinction of style and content. ing can be assimilated to highly sexualized outdoor adver- This has been the object of several studies led by psycholo- tising, therefore it should be considered as a form of street gists and sociologists cited in the introduction of the present harassment. Some curious, sort of Freudian points seem to ^VYR ;OL NYHɉ[P VIZLY]LK I` [OVZL ZJPLU[PZ[Z HYL UL]LY- OHYZOMLTPUPZ[JYP[PX\L(JJVYKPUN[V9VZL^HYULNYHɉ[P^YP[- arise from Rosewarne’s critique: for instance, the correlation between aerosol paint and ejaculation, or the idea that men are more “visual” than women: [OLSLZZMHYKPɈLYLU[MYVT[OVZL0HT[HRPUNPU[VHJJV\U[MVY T`Z[\K`!Z\Y]L`ZI`2PUZL` +\UKLZ-HYYHUK.VY- KVU :[VJRLYL[HS )H[LZHUK4HY[PU  among others, pay particular attention to latrinalia, i.e., wall B¯Dº]PZ\HSZ»HYL]LY`PTWVY[HU[[V[OLJVUZ[Y\J[PVUHUKYLHM- inscriptions – words, names, sentences, statements, draw- ÄYTH[PVUVMTHZJ\SPULJ\S[\YL1\Z[HZ[HNNPUNHISHUR^HSS ings, etc. – made in public restrooms. The main reason to is an externalization of masculinity, it can be argued that the study public restrooms lays in the fact that they represent same thing is happening in outdoor advertising: the erection an immediate means to separate men and women, therefore of a sexualised billboard is a way for men to externalise their an easy way to categorize, both quantitatively and qualita- sexual interests and desires. When the display of women is tively, their respective inscriptions. It may be surprising to done in a way that uses women’s bodies and sexuality as the observe that the results of these studies do not always reveal primary attention getter, this is evidence of the importance HTHQVYP[`VMTLUPU^HSS^YP[PUN![OLX\HU[P[H[P]LKPɈLYLUJL VM [OL ]PZ\HS [V THZJ\SPUL J\S[\YL B¯D )V[O [OL NYHɉ[P HY[ist and advertiser see blank walls and unused spaces, not between male and female inscriptions converges or diverges according to several parameters like the social and cultural 55 SAUC - Journal V1 - N1 Methodologies for Research environment or the site and the year in which data have been ^OVTLHZ\YLK[OLZPaLVM7HSLVSP[OPJOHUKWYPU[Z[LU- collected. For instance, most recent research reveals fewer cils in Spanish and French caves, suggesting that the 75% discrepancies than those of the 1950s and the 1960s. Kinsey of them were left by women.   VIZLY]LZ H THSL WYLWVUKLYHUJL PU ^YP[PUN VU ^HSSZ and that sexualized writing and drawing is more pronounced The ensemble of the cited studies traces an interesting re- HTVUNTLU search path to build upon hypotheses about gender dis- [OHU^VTLU [OLSH[[LYILPUNTVYL PUJSPULK [V KLHS ^P[O Z\IQLJ[Z JSHZZPÄLK HZ ¸YVTHU[PJ¹ HUK crimination. Conclusions like a minor inclination to creativity “philosophical”. However, those very results will be contra- VYPUMYHJ[PVUPU^VTLUHYL[OLWYVK\J[VMHZWLJPÄJWLYPVK dicted by other research led during the following years, for and mindset, and we cannot rely on them in order to read PUZ[HUJL-HYYHUK.VYKVU»Z ;OLPY^VYRZ\Y]L`LKYLZ[- current matters like female underrepresentation in street art rooms at Pennsylvania State University, which showed 60% HUKNYHɉ[P(UKJLY[HPUS`HZL]PKLUJLKI`-HYYHUK.VYKVU of sexualized inscriptions in women’s stalls and only a 30% PU [OVZL VM [OL TLU )H[LZ HUK 4HY[PU   JVYYVIVYH[L  HUK)H[LZHUK4HY[PU ^LJHUUVSVUNLYHJJLW[ the a priori that women’s writings and drawings are more this trend by examining restrooms at the University of Mas- “romantic” and “philosophical” than men’s. sachusetts: 657 inscriptions in female restrooms against 526 4HJ+VUHSK»ZJVUJS\ZPVUZHYLWYVIHIS`[OLTVZ[HW- in male ones; 78.8% sexualized inscriptions in the former, WYVWYPH[LPUVYKLY[VL_WSHPUMLTHSLTPUVYP[`PUNYHɉ[P^YP[PUN 54.8% in the latter. Such changes in proportions and con- – physical unsuitableness to danger and discriminatory in- tents between men’s and women’s inscriptions can be read ternal dynamics – but do the same reasons apply to today’s as an outcome of women’s emancipation during the 1970s. street art? And, most importantly, how is street art perceived today by the public? 2PUZL`   PU[LYWYL[LK OPZ YLZ\S[Z JSHPTPUN [OH[ TLU HYL more sexually aroused by infraction, while women are more One of the most renowned female street artists, Swoon, observant of social conventions and moral codes; therefore wrote a noteworthy “Feminist artist statement” on the occa- they are less inclined to write/draw on walls and to treat erot- sion of her 2014 solo show at the Brooklyn Museum: ic subjects. American folklorist Alan Dundes also conducted H Z[\K` VU SH[YPUHSPH   L_WSHPUPUN TLU»Z [LUKLUJ` [V write/draw on walls by means of an extravagant, FreudianÅH]VYLK¸WYLNUHUJ`LU]`¹[OLVY`! ([ÄYZ[0^HZZV^V\UK\WHIV\[ILPUNH^VTHUPUHTHU»Z ÄLSK[OH[0KPKU»[^HU[[V[HSRHIV\[P[H[HSS0^HZTHRPUNHY[ out on the street, and no one knew I was a woman for at least a year, maybe three. I was adamant about my ‘neutral- B¯DTLUHYLLU]PV\ZVM^VTLU»ZHIPSP[`[VILHYJOPSKYLUHUK ity’ so to speak. I was concerned with my ability to create [OL`ZLLR[VÄUK]HYPV\ZZ\IZ[P[\[LNYH[PÄJH[PVUZB¯DTHSLZ things which would be read as universally human, and not commonly use their anuses to provide substitutes for partu- tether me to a gender identity, which, I feared, would engulf rition. Feces, like babies, are produced by the body. When a what I had to bring, and chuck me into that marginalized, man defecates, he is a creator, a prime mover. Women pro- WH[YVUPaLK WSHJL 0 HZZVJPH[LK MLTPUPZT B¯D >OLU WLVWSL duces feces too, but since they can produce babies from started to call me that guy Swoon, I just let them. Not that I within, there is less need for women to emphasize this type wanted to hide and be considered male, I just thought, when VMIVK`WYVK\J[+\UKLZ ! P[ ÅPWZ HYV\UK HUK [OL [Y\[O JVTLZ V\[ ZVTL[OPUN PU V\Y HZZ\TW[PVUZ^PSSILÅPWWLK[VVB¯D5V^0Z[YP]L[VILS\JPK His conclusion is quite lapidary: and imaginative and honest. I want to put new wrinkles in our That women have less need of fecal substitute activities is language. [...] I want no gasps of surprise, though I may have suggested by the fact that few women indulge in sculpture, enjoyed them, when people see that the things that I make, WHPU[PUNISV^PUN^PUKPUZ[Y\TLU[ZL[J+\UKLZ ! HYLTHKLI`H^VTHU:^VVU!UW There is no need to dwell on proving the contrary of Dundes’ Another important statement comes from French artist statement: it would just take citing a recent study led by Kashink: Pennsylvania State University’s anthropologist Dean Snow 56 SAUC - Journal V1 - N1 Methodologies for Research KASHINK, one of the few very active female artists in the -YLUJO NYHɉ[PZ[YLL[ HY[ ZJLUL PZ HU H[`WPJHS WLYZVU :OL These questions led me to design a visual survey in order often wears a moustache, paints huge protean multi-eyed to observe the extent to which an heterogeneous set of art- characters or Mexican skulls, in a very distinctive, vividly col- works, made by both women and men, are perceived as VYLKZ[`SLMHYMYVT[YHKP[PVUHSNPYS`NYHɉ[PHLZ[OL[PJZ2HZO- masculine or feminine. Interviewed for Global Street Art, she also claims: .YHɉ[PZL_HUPJVUVNYHWOPJZ\Y]L`!TL[OVKVSVN` PUR!UW I’m a woman but I don’t paint women; I’m not constrained by gender. Most female street artists paint cute, half-naked ÄN\YLZ0[OPURP[Z[PTL[VIYPUNZVTL[OPUNUL^HZHWLYZVU HUKHZH^VTHU.SVIHS:[YLL[(Y[!UW 0UVYKLY[V[LZ[[OL¸ZL_VMNYHɉ[P¹PU[OLL`LVM[OLVIZLY]LY I created an iconographic survey at the online address http:// ^^^NYHɉ[PZL_L\ ^P[O [OL Z\WWVY[ VM [OL *59: [OL 0Ustitut du Genre and the Institut ACTE of Paris 1 Panthéon- The targets of this last statement are, in all likelihood, French Sorbonne University. The main task users were asked to ac- JVSSLHN\LZZ\JOHZ4PZZ=HUVY-HÄ^OVLZ[HISPZO[OLPY]LY` complish consisted in observing a gallery of artworks whose similar aesthetics on sensual, saucy poupées. creators were not revealed. For each artwork, the user was asked to guess the sex of the artist, then to try to explain A “neutral” style, a “girly” style, “to paint like a girl” – we have their answer. The survey was disseminated in French and reviewed a set of aesthetic a priori related to gender issues. English, mainly through social networks, Paris 1 Panthéon- 7HY[PJ\SHYS` :^VVU»Z HUK 2HZOPUR»Z ^VYKZ YHPZL H ZWLJPÄJ Sorbonne University and Bari Aldo Moro University, through- question: if what it is supposed to be a “feminine style” is out a two-week period, from October 23 until November 5 HS^H`ZYLJVNUPaHISLÅV^LYZ[OL\ZLVMWPURYLMLYLUJLZ[V 2013. At this date, 658 users had started the survey, but only SV]LHUKZVVU[OLU^OH[^LJHSSH¸UL\[YHSZ[`SL¹ZLLTZ OHKZ\JJLZZM\SS`ÄUPZOLKP[;OLZ\Y]L`MLH[\YLZHY[- always to be associated to a masculine hand. Are these works made by 22 artists (Swoon and Nuria Mora are fea- conclusions always true? Can we maintain the existence of [\YLK^P[O[^VHY[^VYRZLHJOMVSSV^PUN[OPZVYKLY! other criteria allowing one to perceive a certain artwork as “feminine” or “masculine”? Table A The whole corpus can be browsed at the following address: O[[W!IP[S`1 _??[ [OL\YIHUHY[TPSPL\!OH]PUNHSYLHK`L_WSHPULK[OLKPɉJ\S[PLZ in measuring that and how underrepresented women are in the “institutional” urban art establishment, my main concern The ratio of men to women with regard to the number of was not to reproduce accurate proportions. On the contrary, HY[^VYRZ PZ !   6I]PV\ZS` P[ KVLZ UV[ I preferred to create an iconographic corpus where men are correspond to an actually existing men/women ratio within \UKLYYLWYLZLU[LK HUK HY[^VYRZ HYL JSHZZPÄHISL \UKLY ZP_ "  57 SAUC - Journal V1 - N1 Methodologies for Research “hidden categories” – i.e., undisclosed to the users – my purposes being the following: b. To unearth, demonstrate or contradict common gender H ;V VIZLY]L ^OL[OLY [OL ÄUHS YLZ\S[Z ZOV^ H Z\IZ[HU[PHS biases in the eye of the observer. To determine their quality overturning of the men/women ratio, in order to demonstrate and reveal the existence of new and unexpected biases. H NLULYPJ NLUKLY IPHZ L_PZ[PUN ^P[OPU Z[YLL[ HY[ HUK NYHɉ[P perception. The six “hidden categories” are the following: Table B All data have been collected, edited and organized in three HWWLUKPJLZ+,-[OH[JHUILJVUZ\S[LKH[[OLMVSSV^PUN ^LIHKKYLZZ!O[[W!IP[S`-1M?U - Because of its subject  )LJH\ZLVMP[ZZ[`SLJVSVYZMVYTZ[LJOUPX\L - I don’t know how to justify my choice - If you prefer, feel free to write down all the rea- Before starting the survey, users were asked to indicate their sons, the elements and the ideas you based your choice on HNLJV\U[Y`ZL_HUKZ[\K`SL]LS(WWLUKPJLZ!+6UJLW\[ [Text box] in front of each image, the user was asked to answer two questions: .YHɉ[PZL_!YLZ\S[Z a. In your opinion, what is the sex of the artist? -M Looking at the percentages of the users’ answers, the -F - I already know the sex of the artist. survey’s results show a substantial overturning of the cor4 YLJ[ THU^VTLU YH[PV MYVT !   " "   [V !  JVUÄYTPUN[OLNLULYHS[YLUK\YIHUVMZLL- b. Try to justify your answer: why did you choose one sex ing urban art as a predominantly male activity. The main re- rather than the other? sults are summarized in the following table: 58 SAUC - Journal V1 - N1 Methodologies for Research Table C This trend, together with several others, is emphasized by ments like freight trains (A.17 Utah ƂVY¸ZS\TZ¹(-HP[O the explanations the users gave for their answers (Appen- 47 Ƃ  +PZVYKLY ^HZ ZLLU HZ H THZJ\SPUL JOHYHJ[LYPZ[PJ KPJLZ! , ¶ LZWLJPHSS` [OVZL JVSSLJ[LK PU [OL [L_[ IV_LZ * – and by the analysis of the six “hidden categories”. ^OPSLVYKLYHUKWYLJPZPVU^HZZLLUHZHMLTPUPULVUL* ¶[OPZTH`YLTPUK\ZVM+\UKLZ» [OLVY`VU^VTLU»Z lack of creativity, if we think about the common association We learn, for instance, that a motive like dance (A.7 Mark between disorder and creativity. Jenkins ƃPZJVUZPKLYLKHWYPVYPHZHJS\LVMMLTPUPUP[`I` 66.4% of the users choosing F. We can count analogous [YLUKZ^OLUPUWYLZLUJLVMÅV^LYZSHJLZHUKHYHILZX\LZ * H¸JOPSKPZOHLZ[OL[PJZ¹(AVZLUƃVY[OL\ULYV[PJ KLWPJ[PVUVM^VTLU--ZVTL^OH[JVUÄYTPUNZ[LYLV- 9LZ\S[ZMYVT[OL¸UL\[YHSHY[^VYRZ¹JH[LNVY`)HYLX\P[L suggestive as further evidence of the fact that, in absence of common stereotypical elements, a street artwork is very likely to be considered as masculine. Users chose the M op- [`WLZWYL]PV\ZS`KPZJSVZLKI`5HUJ`4HJ+VUHSK»Z! tion for 12 artworks out of 13. The only one artwork being ÄLSK^VYR-\Y[OLYTVYL[OPZSHZ[WYLQ\KPJLOHZILLUYLJLU[S` considered feminine was, surprisingly, by Microbo (A.8 Ƃ! displayed by an article on Citylab, claiming Banksy is a wom- 59% chose F for its style, 23,9% for its content. Some us- HUILJH\ZL¸.PYSZHUK^VTLUÄN\YLPU[V)HURZ`»ZZ[LUJPSLK ers explained their choice by claiming that the subject was ÄN\YLZMVYZ[HY[LYZZVTL[OPUN[OH[PZU»[[Y\LVM WLYJLU[VM Z[YLL[HY[¹2HWWZ!UW6[OLYJVTTVUJSPJOtZHYL[OL ¸JOPSKPZO¹ * HUV[OLY I` WVPU[PUN V\[ [OL WYLZLUJL VM ¸YV\UKLKZOHWLZ¹* correlation between women and artworks releasing a certain H\YHVM¸PUUVJLUJL¹¸ZLUZP[P]P[`¹VY¸YVTHU[PJPZT¹*HZ The opinion to consider “rounded shapes” as a distinctive well as the idea that women are not capable of achieving MLH[\YL VM H ¸MLTPUPUL Z[`SL¹ * ^HZ X\P[L JVTTVU HUK OHYK^VYRZ*SPRLTVU\TLU[HS^HSSWHPU[PUNZ(4H`H HayukƂ; A.12 MOMO ƃVYILJH\ZLVMWHY[PJ\SHYLTWSHJL- it is among the most interesting and unexpected results of this work. At the same time, sharp or pointed shapes are 59 SAUC - Journal V1 - N1 Methodologies for Research usually associated to a masculine hand. The case of Swoon Icone Festival in Modena, Blu painted a giant character fea- PZWHY[PJ\SHYS`YLTHYRHISL!HZHSYLHK`ZWLJPÄLK[OPZHY[PZ[PZ turing an upside-down head in place of genitalia. Solicited together with Nuria Mora, featured twice during the survey. by an association of parents, the City of Modena ordered /LYÄYZ[HY[^VYR(^HZWLYJLP]LKHZTHZJ\SPULI` the organizers to modify the artwork. Thus the artist cov-  VM[OL\ZLYZTVZ[S`ILJH\ZLVMOLYZ[`SL ,HUK[OL OLYZLJVUK^VYR(^HZMLTPUPULMVY VM[OL\ZLYZ WYLZLUJLVM¸HSV[VMWVPU[LKZOHWLZ¹-6U[OLJVU[YHY` 6UJL HNHPU [OL Z[`SL PZ [OL THPU YLHZVU   , HZ LYLK[OLOLHKI`WHPU[PUN\UKLY^LHY[OLÄUHSYLZ\S[ILPUN even more grotesque, for eventually the giant character seemed to be provided with disproportionate genitalia (OmVKLV(UV[OLYPUJPKLU[VJJ\YYLK^OLU-YLUJOHY[PZ[ well as “a lot of rounded shapes.” It is noteworthy that these ,YULZ[ 7PNUVU,YULZ[ Hɉ_LK ZVTL WVZ[LYZ VU 4VU[H\IHU two observations come from the same user: in this case the cathedral, as part of an authorized intervention dedicated gender bias “rounded = women / pointed = men” seems to to Ingres. Pignon-Ernest’s drawings portrayed some angels precede the perception of a stylistic similarity. The same ap- provided with genitalia: a group of young Catholic activists, plies also to Nuria Mora: A.10 was perceived as masculine covered the angels’ sexes with old newspapers, in a night- by 70.3% of the users while A.23 was considered feminine [PTLNYHɉ[PSPRLHJ[PVU=PYVUULH\HUK=H\[L >LOH]L I` ;OLÄYZ[^VYR(PZHSZVWHY[VM[OL¸(IZ[YHJ[ Z[YLL[ HY[¹ JH[LNVY` ) ^OPJO JHU IL JVUZPKLYLK HZ H HSYLHK`ZLLU[OLL]VS\[PVUPU[OLYLZ\S[ZVMKPɈLYLU[SH[YPUHSPH surveys. In 1953, Kinsey showed that sexualized inscriptions Z\INYV\WVM[OL¸5L\[YHSHY[^VYRZ¹JH[LNVY`)(IZ[YHJ[ and drawings were a predominantly masculine activity, then street art was in fact always considered masculine for the this conclusion was confuted by Farr and Gordon, and Bates majority of the participants: in addition to Nuria Mora, 64.3% and Martin, respectively in 1975 and 1980. Today we know chose M in the case of Maya Hayuk (E.3 Ƃ HUK PU [OH[ VM that both men and women are producing erotic or even por- MOMO (E.12 ƃ nographic urban art, as witnessed in 2013 by an exhibition at the Museum of Sex in New York, entitled “F*uck Art” and .YHɉ[PYLTHPUZHTHU»ZQVI-L_JLW[MVY/V[;LH( ƃ featuring women street artists like Miss Van and Aiko (Mu- His artwork was perceived as feminine because of its style ZL\TVM:L_5L]LY[OLSLZZ[OLWYLZLU[Z\Y]L`ZOV^Z    ,  ^OPJO PTWSPLZ [OL \ZL VM RUP[[PUN HUK WPUR that engaging in erotic art is very likely to be perceived as Works by Horfe (A.4 ƃ*SH^4VUL`(Ƃ3\ZO(ƃ a masculine trait. The representation of female nudity was and Utah (A.17 Ƃ^LYLHSZVJVUZPKLYLKTHZJ\SPULYLZWLJ- constantly seen as a men’s activity, as demonstrated by sev- tively, for 76.6%, 68.8%, 59.1%, and 83.8% of the particiWHU[Z, LYHSHUZ^LYZ-VU4PZZ;PJ(ƂHUK4HYR1LURPUZ( ƃ(ZMVY[OLKLWPJ[PVUVMNLUP[HSPHVYWVYUVNYHWOPJZJLULZ like in Lush (A.15ƃHUK)VYPZ/VWWLR(ƃ\ZLYZJOVZL The “Erotic/pornographic street art” category occupies a M respectively in 59.1% and 60.6% of cases. special place in this work, because of both its cultural and functional relevance. In the urban environment of Western societies it is all but rare to bump into street advertising *VUJS\ZPVU making use of implicit or explicit sexualized content, starting MYVT[OLVIQLJ[PÄJH[PVUVM^VTLU»ZIVKPLZ[OYV\NOJVTTLY- It is a well observable fact that today women are playing cials. In spite of protests and consciousness raising cam- a pivotal role in the artistic disciplines commonly known as paigns, this is still an existing and generally accepted phe- NYHɉ[PHUKZ[YLL[HY[I`LTWSV`PUNH^PKLYHUNLVMJVU[LU[Z nomenon. What about erotic urban art, then? Does it enjoy aesthetic languages, styles and techniques. Nevertheless, the same type of tolerance as sexualized street advertising? [OLYLZ\S[ZVM[OLZ\Y]L`ZLLT[VJVUÄYT[OLNLULYHSPTWYLZ- And what happens when an erotic work of art is created in/ ZPVU[OH[[OLWLYJLW[PVUVM\YIHUHY[PZKLLWS`HɈLJ[LKI`HSS for the street, and not in/for a gallery or a museum, under sorts of gender prejudices. The most impressive – and quite cover of the “institutional” art world? Cases of censorship discouraging – data from this survey concerns perception of and iconoclasm are quite recurrent. Among the most known, “neutral” artworks: “things which would be read as univer- there is one involving Italian muralist Blu. In 2004, during the sally human, and not tethered to a gender identity,” to quote  SAUC - Journal V1 - N1 Methodologies for Research :^VVU»Z!UWZ[H[LTLU[HYLHSTVZ[HS^H`ZQ\KNLKHZ ¸>VTLU VU [OL >HSSZ¹ LKP[PVU 1\_[HWVa  ;OL WYVI- masculine, and women’s recognition as urban artists seems lem with such books and exhibitions lies in their “cabinet to be bound to a certain preconceived idea of “feminine aes- of curiosities”, entertaining approach: in no case will this be thetics”. useful to raise awareness about women’s historical role and KPɉJ\S[PLZI\[VUS`[VWYVTV[L[OLPKLH[OH[H^VTHUKVPUN Nochlin, who had already questioned this as a general issue NYHɉ[PPZHºM\UU`»VKKP[`^VY[OZLLPUN of the art world, in her aforementioned 1971 essay, argues that “the mere choice of a certain realm of subject matter, At the same time, I am fully persuaded that literature and ex- or the restriction to certain subjects, is not to be equated hibitions can play a crucial role in this challenge, but only as with a style, much less with some sort of quintessentially long as they have a truly historical, critical and sociological MLTPUPULZ[`SL5VJOSPU !¹¸-LTPUPULHLZ[OL[PJZ¹ approach to the subject. preconceptions lie not on a misconception of what femininity is, but rather on a misconception of what art is, on “the naïve Then, eventually, it will be time to consider “women artists” idea that art is the direct, personal expression of individual ZPTWS`HZ¸HY[PZ[Z¹HUK^P[O5VJOSPU ![VPUZPZ[VU emotional experience, a translation of personal life into vi- the “creation of institutions in which clear thought—and true Z\HS [LYTZ 5VJOSPU  ! ¹ 5VJOSPU HYN\LZ ¶ HUK 0 KV greatness—are challenges open to anyone, man or woman.” not hesitate to agree with her – that, the making of art involves a self-consistent language of form, B¯DNP]LU[LTWVYHSS`KLÄULKJVU]LU[PVUZZJOLTH[HVYZ`Z- Notes tems of notation, which have to be learned or worked out, either through teaching, apprenticeship or a long period of 1. We cannot discuss here such a long and complex subject PUKP]PK\HSL_WLYPTLU[H[PVU5VJOSPU ! as the history of women artists in Western civilizations. In It follows that when time and opportunities for self-realiza- order to have a meaningful overview of women underrep- tion, learning and individual experimentation are lacking, and resentation and discrimination during centuries, see Noch- when this lack is caused by inaccessibility, discrimination SPU  " .\LYYPSSH .PYSZ  HUK\UKLYYLWYLZLU[H[PVU[OLUP[PZ]LY`KPɉJ\S[[VILJVTLH "HUK:SH[RPU " 7VSSVJR " *OHK^PJR recognized artist. 2. For an up-to-date overview of women’s current role in the *VTPUN IHJR [V NYHɉ[P HUK Z[YLL[ HY[ [OL X\LZ[PVU PZ! JHU art world, see Artnews, June 2015. Special Issue: Women in this perceptual trend be subverted? the Art World (https://www.artnews.com/toc/women-in-the- 0[ PZ T` VWPUPVU [OH[ ^VTLU ^PSS UV[ ILULÄ[ MYVT OV^ [OL media usually deal with their role in urban art, i.e., by exclusively considering their art in terms of gender, and by stress- HY[^VYSKHUKWHY[PJ\SHYS`9LPSS`;HRPUN[OL4LHZ\YLZ of Sexism: Facts, Figures and Fixes (http://www.artnews. JVT[HRPUN[OLTLHZ\YLVMZL_PZTMHJ[ZÄN\YLZHUKÄ_LZ ing how women measure up to their male colleagues (e.g., >`H[["-YHUR"/H^RPUZ;OLPYPU[LYLZ[PU 3. This number accounts only for individual artists, not crews urban art made by women seems inherently devoted to this nor couples. The same criterion has been adopted for the wrong, obsolete and deleterious idea of a “gendered aes- next books surveyed. [OL[PJZ¹[VOPNOSPNO[^OH[THRLZH^VTHUKPɈLYLU[PUHLZthetic and content terms. To actually challenge the status 4. The user was asked to check this box, if necessary, only quo, activists, critics and curators should perhaps engage in after choosing between M or F. Checking this box let the a more profound analysis – they should speak about women \ZLY TV]L KPYLJ[S` [V [OL MVSSV^PUN PTHNL HZ Q\Z[PÄJH[PVUZ not by comparing them to men, nor by isolating them, as in were not required. W\ISPJH[PVUZSPRL5PJOVSHZ.HUa»Z¸.YHɉ[P>VTHU¹VY in women-only hype exhibitions like Wynwood Walls’ 2013  SAUC - Journal V1 - N1 Methodologies for Research 1L\ B6USPULD (]HPSHISL H[! O[[W!SLNYHUKQL\HY[PJSL[\[[VF References )H[LZ 1( HUK 4HY[PU 4   The thematic content of LIILFPUPaPVFHFTVKLUHB(JJLZZLK!D NYHɉ[P HZ H UVUYLHJ[P]L PUKPJH[VY VM THSL HUK MLTHSL H[[P- 7VSSVJR.=PZPVUHUK+PɈLYLUJL!-LTPUPZT-LTPUPU- tudes.;OL1V\YUHSVM:L_9LZLHYJO! ity and Histories of Art. London : Routledge. *OHK^PJR >  >VTLU (Y[ HUK :VJPL[` 3VUKVU! 9VZL^HYUL 3  =PZ\HS [LYYVY! NYHɉ[P HUK V\[KVVY HK- Thames & Hudson. vertising as street harassment. Australasian Political Studies +HU`Za4From Style Writing to Art. Rome: Drago. (ZZVJPH[PVU(7:(*VUMLYLUJL<UP]LYZP[`VM(KLSHPKL +\UKLZ( /LYL0ZP[A study of American latrinalia. Kroeber Anthropological Society Journal, 34: 91-105. Australia, 29 July. :JOHJ[LY9HUK-LRULY1The World Atlas of Street -HYY1/HUK.VYKVU* A partial replication of Kin- (Y[HUK.YHɉ[PNew Haven, CT: Yale University Press. ZL`»ZNYHɉ[PZ[\K`;OL1V\YUHSVM:L_9LZLHYJO! :SH[RPU>>VTLU(Y[PZ[ZPU/PZ[VY`!-YVT(U[PX\P[`[V 162. the Present. London: Pearson. .HUa 5  .YHɉ[P >VYSK! :[YLL[ (Y[ MYVT -P]L *VU[P- :UV^+:L_\HSKPTVYWOPZTPU,\YVWLHU<WWLY7H- nents. New York: Harry N. Abrams. leolithic cave art.(TLYPJHU(U[PX\P[`! .HUa5.YHɉ[P>VTLU!:[YLL[(Y[MYVT-P]L*VU[P- Stocker, T., Dutcher, L. W., Hargrove, S. M. and Cook, E. nents. New York: Harry N. Abrams. .SVIHS:[YLL[(Y[)YLHRPUN4V\SKZ!(U0U[LY]PL^^P[O Kashink from Paris. [Online] Available at: http://blog.globalstreetart.com/post/30985725431/kashink [Accessed: -VSRSVYL! :^VVU  Feminist Artist Statement. [Online] Available H[! O[[W!^^^IYVVRS`UT\ZL\TVYNLHZJMHMLTPUPZ[FHY[F base/gallery/swoon [Accessed: 8/11/2015]. 8/11/2015]. .\LYYPSSH.PYSZ ( :VJPHSHUHS`ZPZVMNYHɉ[PThe Journal of American ;OL.\LYYPSSH.PYSZ»)LKZPKL*VTWHUPVU ;YHOHU(0KLU[P[`HUK0KLVSVN`![OL+PHSVNPJ5H[\YL to the History of Western Art. London: Penguin Books. of Latrinalia. The Internet Journal of Criminology. [Online] 1\_[HWVa  Women on the Walls. [Online] Available Available at: at: http://www.juxtapoz.com/current/women-on-the-walls- stract.aspx?ID=260682 [Accessed: 8/11/2015]. wynwood-walls-miami [Accessed: 10/11/2015]. =PYVUULH\ - HUK =H\[L (   4VU[H\IHU +LZ TPSP- https://www.ncjrs.gov/App/Publications/ab- 2HWWZ 2 >O` )HURZ` PZ WYVIHIS` H ^VTHU City- [HU[Z HU[PH]VY[LTLU[ VU[ ]V\S\ JHJOLY SL ZL_L KLZ HUNLZ lab. http://www.citylab.com/de- La Dépêche du midi [Online] Available at: http://www.lade- sign/2014/11/why-banksy-is-probably-a-woman/382202/ peche.fr/article/2009/07/29/646391-montauban-militants- [Accessed: 8/11/2015]. antiavortement-ont-voulu-cacher-sexe-anges.html 2HZOPUR  )PV [Online] Available at: http://www.kash- cessed: 8/11/2015]. [Online] Available at: [Ac- ink.com/site/bio.php [Accessed: 8/10/2015]. >`H[[ +  0U :LHYJO VM [OL -LTHSL )HURZ` The In- 2PUZL`(7VTLYV`>4HY[PU*HUK.LIOHYK7  dependent, 15th October 2013 [Online] Available at: http:// :L_\HS)LOH]PVY0U;OL/\THU-LTHSL)SVVTPUN[VU IN: In- www.independent.co.uk/arts-entertainment/art/features/ diana University Press. in-search-of-a-female-banksy-aiko-and-faith47-take-on-a- 4HJ+VUHSK 5  ;OL .YHɉ[P :\IJ\S[\YL @V\[O 4HZ- maledominated-street-art-world-8882082.html J\SPUP[`HUK0KLU[P[`PU3VUKVUHUK5L^@VYR. Basingstoke: Palgrave Macmillan. 4\ZL\TVM:L_F*ck Art. [Online] Available at: http:// ^^^T\ZL\TVMZL_JVTWVY[MVSPVFWHNLL_OPIP[PVUMJRHY[ [Accessed 10/11/2015]. 5VJOSPU3 >O`OH]L[OLYLILLUUVNYLH[^VTLUHY[ists? Artnews, 69: 22-39, 67-71 5VJOSPU3 >VTLU(Y[HUK7V^LYHUK6[OLY,ZZH`Z Boulder, CO: Westview Press. 6TVKLV *  ;\[[V LIIL PUPaPV H 4VKLUH Le Grand  10/11/2015]. [Accessed: Research concerning street art & urban creativity assumes quite diferent methodologies according to the scientiic background of the researchers and the scientiic area it is being developed. As there is still no consensus regarding a methodological approach towards such issues and in the aftermath of the irst international conference regarding street art & urban creativity, this issue brings forward the insight of several researchers on their own methodological approaches towards this thematic. Seminar quantitative report: 198 inscriptions; 12 nationalities present; PT; ES; IT; DE; GE; SW; UK; USA; AU; FR; DN; 22 speakers (8 keynotes, 10 delegates, 2 members of executive commission); 2 venues in Historical Lisbon center (Fine Arts Faculty and Mouraria Creative Hub) ; Journal (Volume 1) quantitative report: 64 received abstracts 31 full articles received 15 accepted articles without changes 12 accepted articles with changes Street Art & Urban Creativity International Research Topic Urbancreativity.org © Authors and Editors Lisbon, November 2015 ISSN 2183-3869