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Bibframe Work

Graffiti grrlz
Illustrative Content
Geographic Coverage
United States
LCC: ND2590 .P33 2018 (Source: dlc)
DDC: 751.7/3 full
Identified By
Lccn: 2018289075
text (Source: rdacontent)
Since the dawn of Hip Hop graffiti writing on the streets of Philadelphia and New York City in the late 1960s, writers have anonymously inscribed their tag names on trains, buildings, and bridges. Passersby are left to imagine who the author might be, and, despite the artists' anonymity, graffiti subculture is seen as a boys club, where the presence of the graffiti girl is almost unimaginable. Jessica Nydia Pabon-Colon interrupts this stereotype and introduces us to the world of women graffiti artists. Drawing on the lives of over 100 women in 23 countries, Pabon-Colon argues that graffiti art is an unrecognized but crucial space for the performance of feminism. She demonstrates how it builds communities of artists, reconceptualizes the Hip Hop masculinity of these spaces, and rejects notions of girl power. 'Graffiti Grrlz' also unpacks the digital side of Hip Hop graffiti subculture and considers how it widens the presence of the woman graffiti artist and broadens her networks, which leads to the formation of all-girl graffiti crews or the organization of all-girl painting sessions.
Table Of Contents
Timeline of Crews, Events, and Media
Foreword : Miss17
Introduction: "The Art of Getting Ovaries"
Performing Feminist Masculinity in a Postfeminist Era
Doing Feminist Community without "Feminist" Identity
Cultivating Affective Digital Networks
Re-Membering Herstory and the Transephemeral Performative
Transforming Precarity at International All-Grrl Jams
Conclusion: Connecting One Graffiti Grrl to Another.
Authorized Access Point
Pabón-Colón, Jessica Nydia, Graffiti grrlz