MAP-ping Queerness? Street Art in Philadelphia

This article reflects on how street art helps to “queer” the city of Philadelphia. America’s sixth largest city has come to be known as the “City of Murals” following the initiative started by Mural Arts Philadelphia’s (MAP) Executive Director Jane Golden in 1987. It has also in recent years been re...

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Main Author: Lara Cox
Format: Article
Language:English
Published: Association Française d'Etudes Américaines 2023-11-01
Series:Transatlantica
Subjects:
Online Access:https://journals.openedition.org/transatlantica/21839
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author Lara Cox
author_facet Lara Cox
author_sort Lara Cox
collection DOAJ
description This article reflects on how street art helps to “queer” the city of Philadelphia. America’s sixth largest city has come to be known as the “City of Murals” following the initiative started by Mural Arts Philadelphia’s (MAP) Executive Director Jane Golden in 1987. It has also in recent years been re-branded as a queer city. Firstly, I consider how street art represents queer communities, drawing on human geographer Felix Driver’s paradigm of image-centred or “imaginative geography.” Based on a non-representational model of geography, I also reflect on how street art allows the queer community to constitute spaces for LGBTQIA+ people of colour. Philadelphia’s street art enables individual self-determination, as well as congregation, contestation, and conversation among queer people of colour, and between the queer and wider communities, in Philadelphia today. Following recent work on digital geographies of sexuality, a number of examples considered in this article focus on the power of digital media to re-purpose MAP’s murals and Philadelphia’s street art for queer purposes.
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spelling doaj-art-2882851f705c4f3baf61b06d6c80184e2025-01-30T10:43:33ZengAssociation Française d'Etudes AméricainesTransatlantica1765-27662023-11-01210.4000/transatlantica.21839MAP-ping Queerness? Street Art in PhiladelphiaLara CoxThis article reflects on how street art helps to “queer” the city of Philadelphia. America’s sixth largest city has come to be known as the “City of Murals” following the initiative started by Mural Arts Philadelphia’s (MAP) Executive Director Jane Golden in 1987. It has also in recent years been re-branded as a queer city. Firstly, I consider how street art represents queer communities, drawing on human geographer Felix Driver’s paradigm of image-centred or “imaginative geography.” Based on a non-representational model of geography, I also reflect on how street art allows the queer community to constitute spaces for LGBTQIA+ people of colour. Philadelphia’s street art enables individual self-determination, as well as congregation, contestation, and conversation among queer people of colour, and between the queer and wider communities, in Philadelphia today. Following recent work on digital geographies of sexuality, a number of examples considered in this article focus on the power of digital media to re-purpose MAP’s murals and Philadelphia’s street art for queer purposes.https://journals.openedition.org/transatlantica/21839muralsgraffitistreet artPhiladelphiaimaginative geographiesnon-representational geographies
spellingShingle Lara Cox
MAP-ping Queerness? Street Art in Philadelphia
Transatlantica
murals
graffiti
street art
Philadelphia
imaginative geographies
non-representational geographies
title MAP-ping Queerness? Street Art in Philadelphia
title_full MAP-ping Queerness? Street Art in Philadelphia
title_fullStr MAP-ping Queerness? Street Art in Philadelphia
title_full_unstemmed MAP-ping Queerness? Street Art in Philadelphia
title_short MAP-ping Queerness? Street Art in Philadelphia
title_sort map ping queerness street art in philadelphia
topic murals
graffiti
street art
Philadelphia
imaginative geographies
non-representational geographies
url https://journals.openedition.org/transatlantica/21839
work_keys_str_mv AT laracox mappingqueernessstreetartinphiladelphia