6 Ways of being seen Gender and the wri ig on the wall Jessica N. Pabén Introduction indcipberale nme spey- punted in SD pursepce eae ora stenedetboate ts ey ‘van one clay pose el ssiponle anor given ere fo he publica, Ths suber ely asm to be ua economically disenfranchised, and a racial or ethnic minority. Morcover, the writer/; : who write graffiti or make street art are not visible. ee isa to ‘Contempo rer send Bon wt now ied fom wat ow ied Hip Hop ri kind ‘on a surface) from cave paintings, to hieroglyphi freigh a 2h desratons of ove on broom alls, Ak Knows spay cov or sel aaa rican one, ee te eto i ro fate nd ot conte sun te peee poss of een eee 2011. Gri wen “bon the en” wih er op: prea aa ee nae sreated as opposed to the one that appears on heir birch cettficates. In cowtess, sticet artist may oF may not use aliases and therefore the anework itself may ot may not reflect that : and the central visual will instead be a character, a landscape, iH Dae md es 2satanenssynbol et Depc iene i mth nd mun, sett doce o Hip Hop ete, te et at conn the sed of copolil conmancaen and reellon bu ne eel undeoo tobe es “kyle psc ke danaovn and theca eon Ey susan epor existe ovr Sese Weoplsonesee ta ould hae th suber and moms nanny opto as eee tng 7 Gender an the writing 00 the wall anil who we see asthe doce ofthe waiting especially when famed alongside other clements OF Hip Hop sul as dancing, apping, and ceejaying (Mailer & Naat, 1974 [200 Bases, 1981 [20n4). Graft hisory was not written fom (or even inclusive of) the penpectve of gis and ‘women nor did it consider the condon of gender diferece within the subculture. There "were exception: who insted of being marginalized, were rokenized 3s unique representatives in canonial works. The ealiest women 07 record to write graft include Lady Pink, ABby, Lady Heat, Barbara 62 and Eva 62, Poo-ni 167, Charmin, Gidget, Stoney, Cowboy, Gripe, Kivu, Suki, Chic $8, Bambi, Anna, Dawn, and Kathy ~ each co individual seaim (Castleman, 1982, Cooper and Chant, 184; Chalbt and Pago, 1987; Siegel, 1993; Guevara, 1996, 1495¢ Stal, 2002; Mille, 2002; Pabén, 2014). Despite the exceptions, our ways of seeing the writing on the wall main heavily infhenced by begemonic Wester gender noms. ‘Scholan and documentarians of galing and set art have noted that more women tend to participate in steeet art (Ganz, 2006), rather than graft writing, becasse of the following. The unica designation of sreecar a ar” versus raft as vandals (he asp tion being that women are Jess likely to participate in criminal behavior: the preparation fof stickers, stench, and poster in the private domain prior to being affixed to public surfaces {the asumption being that wonien ae nairaly inclined to be more convoruble in the sry fof the private sphere; and the lick ofan investment in “making masculinity” (he asumption| being that women do not have the desire exereise masuline behavior) (Macdonald, 2001), “These ideas, developed over time and in relationship to graft writing/treet art history, have exacerbated the numerical minost sts of feral participants and prosslyundereiated and over generalized cir realities, desires, and potential: Realities faced by writen ike Utah who was went to jail for a yea (ix mone in NYC, sic months in Boston} and yet ca sill he found blogging about her rafts exploits throughout Asa a www vtahether.com (CtahEther, 2008; trving, 2000; ClawMoney, 2010; Tuts, 201 TEDx Talks, 2012; Shennan, 2009}; desires Tor writers ike ChorMoney, who began egging it the late 1980s an over the years hss tamed her iconographic “la” logo into an intemationally known real brand (www.clwnioney: com); she ako became the fint woman to design the pant scheme for a Nasar feet in 2012 activating the potential in her arcatry (ClawMoney, 2007; Turco, 2012) ‘Gaal writes/stret artte construct, deconstruct, and subvert the social mechanics of representative entity through their ephemera public artworks ~ sometimes consciously. ometimes not. But women, because they ae not the presumed does, have ro decide whether ‘or not to make their gener diference visble, and io, how eo accomplish cht task. Signaling Jotrelf "woman" automatically makes your anwork suscepible to judgments based on yout fender rather thin on your skill “Thats good for agi,” and “her boytiend must have done that for hee,” ae standard sponses, The pradox is that forthe gender signification to pesfors to do the work of identification and representation ~ ie must utilize the very same gender Conventions that have traionally worked to suppest chem. The following contributes to she Tterature on graft and stret at by offering an international sample of how gis and women fiom snowed the world navigate the polis of visnaliy Ways of being seen Gender anonymity Scming hat her mle pees wore likely sx eeskeate hor graft writing as “pelea” Jerk how 4 tag name that concealed her gence identity within a word implicitly identified with ten (Swenson, 2013) Jerk isa Chicana gli write fom Los Angeles, Clforia who began 9FesieaN abn tagzing the concrete ood-contral channel of the L.A. rivera a tenager in the mid-1990 — about dealer Hip op gz gnned populnty of the West Cos in contrast testa fg rai in syle and prpose (Phillips, 1999}, "Vandak™ in California risk volting the “nsenbe mats” penal codes, beng arsed, charged, and convicted of vandalism, and depending oa the fr ofc ton et he iater ay), or comeing (anon, nd), Dope ike, Jeb re tobing the sem ove tment ya an repeets che CDS chew out of atiwood Har syle vant se Ever plu, tip, pe thowies and lone serpin wide tes il of which canbe sen on he ght ean, wal an high tomer y(n com Jerk EAB. Toh es don “apse tas ow ind we ad er gender Soto loge iden sng peony th aed ex desi ree wc il os wing pa in Sa Pao, Palo (otc oan) ceed in Hae i the midewentith enti m4 fm ce pes nine yn of trl ala 213 Fe aly rept ered en “GH” or Cencaton fh revived te fxm bu iced te ie pall scian with -cnpowement an aba cogison,Chacenetby cp that tne palo appeate ns on ge nda sec level Pngao was thesis cx eae canoe tothe devine. in Hip Hop gai, hich ii in poplar ofthe ne Pare, 201; Deen, 201) Free chose ting the te whe he poe ess and invisible a a young gil in a patarcal society. ‘gue 6.1 JERK UA, 2012, Northeast Los Angeles, California. Photo courtesy of Jerk 0 Gender and the wing on the wall She wat detcrnined to “bur {her sale poor] on the walls” ~ she wanted to do the best nd dhe ment pixagao in her city (Pabon, 2012). She buik her reputation before other pixadors Lenew she wat a il, but once her gender became common Knowledge she became a model for up and coming female strect ari Motl7 is 2 gris unter fom Cape Town, a member of the notable graft crew 40H, and one of dhe fist white (oF Norwegian-Eagish ethnic heritage) women to pant graf in post-apartheid South Affca(www.toteseven.com). Black South Alicans, by and large, were the fine to embrace Hip Hop culture through poiia/coascious rap and dance fr two decades before “non-political” grafts popularized inthe late 1990 (Marco, 2011). When she sarted painting in 2003, she chowe thet sme Misty to highlight her “female identity,” but she soon Mopted the name Motel. Oftentimes fling ike 3 socal “mi.” grafitisubcelure became the world in sich she explored here with idulgence and without explanation (Du Plessis, 008). Motes bright colored geometnc lewers ate deconstructed to the point of animation ‘hey are sometimes accented with 3 goofy character Bringing humor and accesibity to the image. Cape Town became dhe site of Such AMca’s fst anti-grffii by lw in 2010, which states that ny "mural ar applied to a wall facing the sree reyires persion by the City” {Cows 2010). Painting walls with persion has meant painting less frequen for Motel, expression through grat but her legacy 2 prolife female writer who claimed unbridled se “The utilization ofa gender-neutral tag mame like Fre, a “masculine” name ike Je, or an androgynous one lke Mote? allows graft writers and sect artists to communicate a message, ind/oe exercise dei artsey without the tga sociated with their gender in everyday Be isimportant to not tha the decision segardng gender wsiity or invita rai writing ‘omen more than tect ais because the tag name i the cent component ofthe work for the former. Further, because ofthe stakes of representation, and the numberof gis and women too choose anonymity asa negotiation strategy, che “real” numbers of participation will never be known, Agana those atiss/writers choosing various forms of gener anonymity, we ca Juntapore srt urite who choose to publicize ther onder specifically through signification Gender signification Since 1998, NYC's Mis17 has ben writing galt on every single surface she cn ain every Sine city she vss (ww facebook commas Taye). Regards ofthe “mis” in her tag, which Sgnaled her gender fiom the stat, her peers uniformly recognize her a “king” ~ the highest festa one can atan in graffi subculture, Making her mark in a matter of moment, her rai ile more offen than not "gritty and raw.” She i probably best known for her throw-ups Sppeiring alone or in a “fnly” and for populaiing the vertical tg, MisI7 register her ‘Conaplants about social conformity by scr her name on every surface se comes actos ~ toe jst walls but lio objets that circulate through everyday life ike dollar ils and posteards In 2011, Min17's lawyer estimated that she was wanted for over $600,000 worth of damages to NYC alone, » ity notorious forts anti-grafilaws and sk force (Austin, 2001). The intensity ‘with which she approaches her work sakes hers aloud, present voice in graffiti (Lennon, 2009, Mis tags and throwies caw an alemative map ofeach city she visi, For those in the know ‘or for those who pay attention, se makes streets Eumiiar she makes cits fel diferent, The Voi” in er tag motes, if temporary, the gendered sense of belonging co. salty in, and ‘ownership of public space influenced by architectural features and urbon planing (Pabsn, 20130 “ting fom Spl. Australia vey tag mame comes from the DC comic hook super win poison ty" who exploit the ideological bowndases of conventional femininity to her aFigure 6.2 King Robbo Tbute, Stet Bow, Leake Steet, London, 2014 © Stefi Bow Gender andthe wing on th wall advantage ley’s pieces are embelished with cartoon figures, element from tattoo cure, and ‘onnetimesa provocative catch phrawe, Her eter are ld school (1970s NYC), fanky yet eb 1 stay elements hat immeciatly tun always ined with some combization of bubbles, bow Sienfy her gender perhaps hee name doesn. In 2012, Wey painted a buble ter piece with ‘band across the mile bottom hal dat read “Real chicks pain, ike chick alk" In ths one piece, she identified henelf, her expectations for other “chicks” who wete and daimed the suib- tuiturl value ofher ac. In 2008, Syne’ local government officials moved fom an unsjtnatc tfforto remove gafiito a zero-tolerance policy akin ta former New York City Mayoe Ralph Gailion’s 1990s support of zero-tolerance policing, making the consequences of being a "rel chick” in Syacy that much more relevant (Gilani, 2012; McAulife, 2012), Tn Dubai, UAE, where there isa sll but lively Hip Hop scene pionected by the Deep Crates Cartel (DCC), Bove (heres DCC crew member, and a Bish expt) has emerged as the first female sect aris in the UAE and one ofthe foremost inthe region (DtNews, 201). She began stenilng litle bows sound Eas London in 2008, and after moving to Dub began honing hee craft into freestyle grafiti avored "I2-BOW-Lous” images (Pabén, 20146), Mostly punting inthe Ars District of Dubai, which i located in the insta ares known 25 Akal Avenue, Bow and her crew paint live, in public, and with permision (hep//sjabow. tumble com: Obon, 2013), The arguably Western notion tha stect agai writing sony (ub- Culturally) legitimate i i legally or socaly transgressive doesnot hold because the centext ofthe sene’s emergence i radically diferent, Stoet are in major cites actively developing thee sts and culate secon ~ like Dubs ~emerged lau of the dual legtimaszation and cltral curency of ret at ad graft a opposed to an emergence 3s a mode of sociopolitical eisance Within this context, ow is «highly visible female weect artist motivated to develop a scene where there simply it ome, a scene with women a che freftont ‘The historical marginalization of women sroet artns/grallit: waiters has consequently produced an aesthetic hirachy whereby imagery, leering. and approach characterised as feminine” is degraded ~ tacitly iforaned by the notion that only men ze capable of producing raffis/seret art with “masculine” characteris. Asan active deconstruction of a sexi value SMructre, a wa’ toring gendcr equity to these value systems, and/or as 3 nonchalant rejection Of them, gait writing an street ate making women mark theie leer with embellishments (bow), popular culate references (Poison Ivy), and tiles (Mis). Others revel in overt fomale sesuliy and hyperfemininity through characters Hyperteminine and overtly sexualized DansPink is a writer fom Santiago Chile who began painting in 1999 and seed int her subject matter of choice ~ children, animals, and flowers ~ after joining Chile's fs all-male tral czew, Crzis Cow (Pabon, 20133). While Dana cerainly paints her fir share of gait Pieces, she is known for her wi tary dos, eat fllipops, and ate accompanied by animals. Signifying her gender in name and yea mua (litle dol-ike gil figures), which don deses, aesthetic, she aserts her difference by vilorzing and valuing an aesthetic oflen deemee “less siti conventions ~cutenes, Dana favors all shads of pink and purple; she exploits highly gendered nature of these colon purposefully because she knows without making her gender in some way, her graffiti could be atibuted to romeane else. She refuses invisblty swith cute, pink, youthful joyful charters and letter. She abo eefuses to subjugate her cess to paint inthis way in onde to matchup toa Noth American or European aesthetic et and instet embraces the long history of sualing and public at Latin Amerian culture 8Jessica N,Pabsn Shiro sa Japanese writer fom Shizuoka, intermitendy living in the United States, wh as ‘been wtng graffi since 1988 («w-b}6.con). Her tag name eansates 0 “white” in English fom Japanese, and for hee that signal 2 kind of blank site from which she can just be hell The exploration and expresion of ones self, in Shito's graffi, means the exploration and expresion of one’s selves ~ multiple and ever changing in tems of visalsy, yet somehow remaining the same: voluptuous and firatious (bin, 2013). Hee “Mimi” charter, ate hhypersexual Barie-ike figures whore festures are mouified depending on place, theme, sed purpose, but the always maintain the basic contours of de Min, She sige her Asian ethnicity 2eronymically by atooing her nis wid "B46," ig je 46; che nabs and letters in het tog ako locate her within Hip Hop graf specifically. Purtaking ina visual tation of sley and playful female characters initiated by sect atts inchuding Miss Van and Ff in the nid 190, —bot fom Toulouse, France -sexuaized charactors ike Mini ofen cone under sertiny for the presumed reliance on beauty ideals and the ule gaze Faint; missvan com). Why would a female grllat wrter/snect artist reproduce imagery tha sexualizes and objecies women? Shiro creates her Mimi characters at agents of communication between women of varying identities and experiences — nota pasve objects to be gazed upon, Paining on the categories! boundaries between stret atta! gait writer, Bazan ate Inj faces similar seutiny with her figures. Using a tae ame that rellees her sical «omrnitment (in jah, in God), she’s been using strct are ad graft to communicate het so postive Feminis polities in Rio de anciro since 2005 (Pain, 20133). ljah’s rade femal ies are meant to inpre liberation of wonten' sexuality from morally saflected social conventions She sometimes punctuates he imagery with a short phese relative cathe content ofthe piece (ie. Tiherte yourself]. In cems of medium, Injsh tends to use sicker and posters because she is hesitant to stayin dark alleys, under bridges, and in hidden places for too long. For women Painting at nt ~ ofter alone ~ can be dangerous at the outset, When the imagery ones putting on the walls specially about sex and sexuality, the threat of rape and sexual harassment Is magnified, Her characte spread thie legs, touch themselves, and gaze vet) at the viewer, ‘hey float dough the air, air down, unencumbered and delighting in their sexual indulgence ‘Whether is through cutenes or seine, grafic witts/stree ats ke DanaPink, Sho, and Ina sechim and revalue the presence of gs’ and women’s bodies in public spaces, Taking strengc fom chiming their ethnic and gender diference, they manipulate the secorypes and expectations that would otherwise soboninate then subculturl, social, and histori. There are graft writers/steet anists wbose work i political because of what it (mode of resistance) and what t does (change public perspectives, comunicate mesages, et), but there are aso street aries whose work is primarily politically and/or cukuly oriented 2 Political and cultural Sarchld Stel 2 queer Québécois Feminist rect att foun Montréal, Canada redefined het seme of eing agi” through criminal behavior the fines anid pena fr vandalism in Quebec vay by municipality; ww: ficebook cony/strhiltes). She began ming stickers nd panting fn the street and on freight tans in 2006, and afr some om and off activity seeded into hee “Stel” moniker (Pabn, 2013). Moly, se paints only the torsos of fairytale-hke characte, some of which are par-animal ca, specifically) and others with bout hairstyles in a pastel color palette; she makes them fierce with the addition of thought bubbles or capeions in turvilinear handsye chat generally inckide an exphciive diminishing heterosexis patriarchy Her tex and figural say print set at is 2 kind of visual consciousness ean initive “Marking her gender (and her geuer pois) through name, message, and imagery, she wes a Gender ane the wing on the wall gute 6.3 Starcid Stela, 2014, Photo Courtesy Laurence Pilomene ter punting cope with every ead oii oes to eink ciclo ie yi” A rest the Soh nde thing pricy in raombip 40 gener Ineqay and rth isa wodd-renownd cet ais vingin Cape Town, Sth Affi who wa intro cad oats in 1997 oo thom) just thre ous eee on of pared Sharing tebe known spel ab "Yale ais” to be compare oe ait Bethe Senin heron ight Pb, 20136). The then her awoken to foes on once Sieh os eqay, pov, bey, and juice =the fg tame man she a ath hat oe day cn bees nd joc wil overcome, On the centage Fah pec won fn so ite. or an Acne th cd er ak. The esas commited through he pices elec to motherod, the feminization of ove, ad women’ lace inthe word Her imagery ~ spray pained, whest pated o posted ~ vial ight, ba oneal heavy. Wh the spe uc cegane placement of + word ibe, oF 4 phe seth comepondng igure ine reins ooound Me nto dying be Ke car Ty pes, and derepit wal Fale set art touches spect aco, withow 4 vill "Slpcse rec rst Lay Aiko sgl r gender and her a with er ie: “Lady” {wet lays cam). S's been developing er Popifencedstectar ate nce she moved fam Tae to New York inte 190 (apanSosey NYC, 2013). She aes her ao 0 Sete ito tpi such hesage, presen, snd pie a Jpunese woman eng the Une Sa snd uncover the well (MHOCATY, 203), Akos mine one igus tie actly cea pasting caged mined-mods anapes complete with ters {nd Rowen, bringing minl cose eigeenth-centny opsewoodlock pis she pul ipiaion Goma gies contemporary ato aig abo wal nergy ine ies 85Jessica N.Pabdn pose. In 2012, de hace se ist woman to pint he legendary Keith Hasing Wallin Manhatsin at Houston and Bowery (Leon, 2012). For day, she ported dhe space, taped the stencil, sprayed ‘he punt, reposioned the stencib, and re-sprayed the puit ~ creyting layers and halancing negative and postive space with an extreme atenion 1 deta Sela Faith, and Aiko all create works fora parpose tht is diferent from the proliferation ‘of an individual ag mame, ofthe social recogsition of their presence in a subeuleare. ‘Theit ‘coves extend beyond she individual andthe subcultural ~ by broadcasting heir commenti, {hey respond to their penonal, politic, social, and cultural environments A growing ten which responds particulary to the socul/subcultural male-dominated enviroment mn sect 21g wrcing, isthe formation of all-female collectives and crews. Mote offen that not, the aesthetic choices in relation to gender representation difer among indvidual ewer, be asa whole they “represent” one another and they do so in fll view ofthe public ~ bringing 2 new level of vsbily and recognition for girs and women, Collectively Rede Nati is feint urban ats collective, founded by gflit writer Anarkia Bolan aka Panels Castro in 2010 that ma swe ofthe 2009 decriminaiation of street art in Bra (oeww.panmetacasto.com). Anarkia cites TPM (Trangesse Pans MidhesTransgresion for Wornen), Rio's fire all-female crew, as Nan’ inspiration; TPM was active fom 20-2007 aud founded by semietired writer Prima Donna (Pain, 20133). Nami concenttes on ils and women living in the fvels of Rio de ani and teaches then how to pai sree are and ffi while educating them on reproductive night, domestic violence, and sociopolitical emposeernent (www tedenams-com). The dhemes of thir marl reflec ther pois and proxy, providing information oaloaker such as how to cl for help in + domestic violence vitro). mn aldition, a sructarl part ofthe onzaization isto employ trained members to reertt and tran other git andl women in heir communities. Natni i aso empowering these women «economically. The groups’ mgneit and mfuence isch that in jus thee yeas he collective expanded from a gristoot organization wich 20-8) member, 10 an NGO with over 200 embers ranging in age fom adolescents ro elders (Lavoie, 2013) Few & Faris an US-bated col tive of pate wrter/stcet ats founded in 201 by Californian grfiti wnter Meme, which includes skater git, decjys, photographers, and jewely makers (wwwAicebook.com/FewandFargitl). They are the only all-female gral street att collective in the US, and because of thc productions at high art evens lke Art Bose: Miami Beach, chey are making history with themes including “Queen es” and ‘Women Warrior” (MeCorquodle, 2012). Painting ssa collective of selPidentfed and proud women is a striking act ina sexist subculeural (and indeed, mainstean) enviroment where doing so perceived 2 roo politial or too ghettozing. When the metubers of Few & Far pnt together they ate generally in a public setting where spectators can tne and partici pate inthe support network chey have buil (TheSkshateboards, 2011; Ironak Filan, 2012 Barookatns77, 2014}, Asa colleetive, they make it a point to give each individual the safe and supportive space to paine whatever she wants to, rusting that her work wil conenbute to the overll piece. Wonnen on Wall (WOW; 42 lesb) sa lowe network of over sity sret/vial aris founded in Cairo, Egypt, ater the January 2011 people's revolution in Tahrie Squate by pPhotographer/auchor Mia Grondahl and aceivie journals Angie Balt (atp://wonenton walle orgs worw facebook. comn/RevolutionGrafii SaeetAnEgyps). The 2011 revolution sparked 9 sarge of wrce aut Egypt have ake the pola ight to the walls and this WOW employs 86 Gender and the wting 00 the wall stret att as 4 medium to organize and empower women in that fight, articulating socal and political reitance during 4 period of precarious national transformation (Pab, 2013c; see hnup://suzecinthecity. wordpress.com), The grasroosfeminkt art network lanched ther fst ‘ational campaign in 2013, during which time they eaveled t Alexandria Cairo, Luxor. and Mansoura wting tei feminist relation on the walls ~ visually inhabiing each city (www facebook.com/womenonvalls WOW). In January 2014, WOW completed Phase 2 of their inignive by painting 2 40-meter log wall addresing the problems women in public spaces face in the Arsb word; als they transformed a parking garage in dowarovsn Cairo ino 2 kind 914), WOW reclaims public spaces with street art hati particular of urban gallery (Bac, to women’s empowerment in general, and with specific reference to pivoal moments inthe revolution: From stenciled images of stoic female figurerin gis musks to Hue brs (ting the Muslim woman stripped of her veil and besten by police in Tabrir Square; Amari, 201), Inthe autumn of 214, WOW expanded their work by inviting twenty-five street arses rom the Middle ast to Amman, Jordan, where they paiated the longest wall in support of women and women’s rights in the region All three collectives use an artform ehat docs not “belong” eo them — per the gender conventions described inthe introduction ~in onder to invite more gs and women into street, ave and git culure by staking their lim to belonging a gil and women. The gradual, but Certain, subeurl siti the active presence of gis and women in sree ae/ graf writing isnot only linked to all-female crews and collectives, but alo to the power of digital culare Similat to how painting as part of an all-female crew at a public event changes the condition and consequences of anonyanty for women, going online changes the anonymity and the Ephemera of the att work in such a way chat enables artit/writers to identify themselves dnd one another, co build networks, an to participate in the project of memory making and Figure 64 "We are dcussing the man who ss athe a and harases women inthe set oe 6 We tet reflect the negative ele of hs haresment onthe eal, even afer she’s entered the private space of he home,” Indoor pking lt St Naguib’ Garage, Nour shouky. med Nour and Sad Pad, 2014, Cao, Eat Photo by ia Grondahl © Ma Grondahlesi N.Pabn history writing. Digtal culture offers countless weans 10 subvert erasure, invisibility, and imposibiiy Swez2, 2009, Digitaly Predated by the now inoperative, but sil significant, websites GrafGitecom and CaPight Magazinecom (P. Lady, 2007), since 2006 Kia graffi writer from Guanajuato, Meio, has been managing the website LadjsGraf hp ladysraff blogspot con). LadysGaf s+ Spanish language ste where Kieontinues inthe tradition ofthe aforementioned sites by bringing the ‘work of female artists co light through inerviews ad sharing photos. She has been writing tena: since 2001 and is part ofthe IKS crew (sane Kings Crew). Her graft sensibbtes tend toward gender-neuta, legible, esp leters consistently inchading, multideectonal stows on legal wall. She isnot what one woud conventionally consider bomber becsse ‘wien she started writing graffiti in 2001, che laws again graffi were ot enforced because a tradition of socially acceptable wring om walls sc a murals and burda deb (ance party advenisements) exsted (Heller, 2013). In 2004, thie dynamic changed as Mexico City Began ‘oimplement zero tolerance policies and practices (Grillo, 2004), Nevercheles, Ki bus gatit ‘community in he city and online ~ making ta point to create online communities specially and exclusively for graft writing women not only through her log, hut ako on sovial meds pltonns like Facebook: ‘Shania Huson’ ars practice merges sree cukure and dtl culture i s novel way (Grabane Hiarrson, 2012; Radio Free Europe, 2012). An Afghanita-bised ats, she began experimenting ith raft and sereet arin 2010 after aerdinga workshop sponsored by the Comune Cora, ‘Though grits not legal in Afghanistan, Husass finde dae the socially conservative and policy cunaluouscicumstances make paiting in Kabul extremely dangerous. Asa coping ‘technique, she crete a form of geafitiehat would enable fer to pane the city au fel se simmikanconsy (Pabon, 2014). At fist deeming her practice of superimposing anges on buldings ‘hrough gruphic design sofware a5 “digital grat,” she now considers her work “dreaming fri” and fas ken to paineiag om photograph pints with acrylics. Living in Kabul, and ‘working as Iecuter in the Department of Fine Arts at Kabul University, Hess's ports fof Maslin women in burs are more like block letters thn figural bodes, they are usually engulfed by, or producing arabesque color reams, Her ati her contribution to rebyilding ‘the city with 2 particular eye w the conditions of women before, throughout, nd ar the wat (ow ficebook com pages Shamsa-Hastani/25210076157 7381), Conclusion The graffi writers /stret aris cited here negotiate, maniput, exploit, and reject the ways in which the writing onthe walls sen, parila in ration to gender representation. 1 do s0 by: Using the posses of momyaniy tate the season within jai writing sirct art cultre; developing a value sytem unafected by the conventional aesthetic hierarchy ‘dependent om the gender binary celebrating women’s eavality and women's bodies through 4 mode of sextalization tat doesnot subordinate or dominate; using are t share and provoke ulural critique; painting in groups, n public, and i font ofan audiences inviting, tating, and mentoring othe gis and wonten into srect at ad grits and acesing the power ‘of digital culture co connect acros border and tine 200s, to make history where gt and women are part of the sory (FemaleCaps, n.d). ‘The hope intention behind thei euler ‘work is that che sexist and bigoted generalizations about the gaftireet art “doer” will ade a8 Gender and the wating on the wall {in favor of a realization that all witer/atists are indvideas with the potential to expand the esthetic diversity ofthe writing on the wall (Turco, 2012; McCorguodale, 2012; Harrington fn Rojo, 2013: Wyatt, 2013) References Wes 200, Fem Wetec Avi fa: waste nd thse el a4 " Anos 04D, ht he BD’ Syn p's Omi er. ale on: wo. vpn pun 2012/20 OMe tea ceed Ape 1.25 ano ls Cis Pend Ca Sci 9438.2 lnc) Som wep cage Thulolcolcsen pening tnt. ccm ach 2 aut Es) he i Cg an Bane ir Ca Ns a iy New Yk Sans Uae Poe nye ids Con a Rake yp? aly Rome it Hn er) Ave Som Sats Gelso nto ne Sn 4/tfemmpaenoate- ype ese AP rn i: 2), sci rai taking iw Do oR. Cope 2 An DS "ea ean ip aati of a 2 en pe) Neo Yk ior & be slain COU Fn a one Vio ary 29 Sete Bo ne. “cs [cel pT can th Cg Up Sey Coie Noe Yk Cant, MA: The MIT Gan bmp). (OR paper New Yo. Tame Hatem Cashew Te Lead mc Cl Hy Rew Wor: wets Books GEMS Go Ue the uc et ge le ws ages 2/17 ahi ey Ten Moy co ty el One Vo Ae new ona 4750 thc ap 8209, olga Cutan Hr 98 Sia A New Yok ok, Rint od Waste, CS Bit ge Ten Coan Lato nes Ata pct go Sutaentcena Passat acne sc 24 pei Pung he Tn len and Mie eh i Ri de ao, el Tel Gh Sf hea wow gate. onerncen doing dese geo gerisae ert-nceesinre [Accu Mach 0 Dahlgren uh oe Ue er Sot of Sei, ese ttt ass ct 7,2 ce Be 200 Mac ml Cos 34 Ln Ais fom: happily. Slon/ng mot tps Mach 1,010 11s Ca Sn etc om arin i Acad Mach 92016 Fran ol Ra inate eo np ae ano Ted "are tS aN hb) Ea Hoe: Set fom eC New Yok Abo Sia a ar Nee Yon Ove Jomo Win ean ly Juma. ping ‘at nwo jor 28 2 ne wad Po! ps0 ohn Baan E13 Ain ee of a fo Tie Ch ty 2 ie aoe putas com eon 208 est gaiecanatbfsacd Mech 22014) ca S50 Mat Cy Cac Drom on Gri fino, Hats Che Joy vee isa en hsoveen nase no ite Meco Cycler ga: DSTO RAP thes tach 20 ol R80 en a Rapin rt We Pekin). Dp Sine: Cred a Sip tpg Cae 2-43 Pp PA Fei Cvy Pre sac Ro) COL. Worken Rock Wyo War At Be 205 tre Tigon Fon Reis fam we hlingonpono/pineoacerartngun yen sth htt [Aces Decor 2503 shee I3 te nn on Wa bt Clas Vn Dand nee Are tray tat com cement che 303/0rbe sagen ea ‘i. ommarwcnta/Swte[cve ge . 4Jessica N. Pabon Wonk Fs. (2012) Few € Fa at Dina Flt ~ Mins, 2011 {Onne Video), Febery 28,2012. ‘Avail fom: wo. youu con wath EaiyDrZDite tte youtube aber payer [Asesed cae 30,2013 Irving 82009) tsa 28 Te Rowe’ Fue ~ UTAM 6 THER MUL er. Arable ome woe ‘lai com ase route sre-taveter-nl [Aceon Api 9 2014) JepanSocetyNYC, 2013) Ele hp AIKO- Te Maing of Sune (Online Veco. Mach 7. Avalble fem yo oman ga nr At Mah ic (n.d), Ladys Gf tern, Avaisbe fom: hee daa ogpocae [Ace Api 17, 2014). Lavoie, A 2018), Un Reinier 3 wr avec eins dt gat [ern om, Avible on 1th journaler comi/monde/392720/an-fenane-mr-nur vel ene de {Ascend Api 2, 2018) Lennon.) (20). Dombi’ Brooklyn: Grit, Langsge and Genticaton [heme Rhizome (19) ‘rie toms y/o onde nse Trp Leon, 5: (2012, Bowery Mtl al: Lay Ao Tas Spa om REETNA (nee Ava om: ‘er hingonportcon/2012079/y-aiko-mura-new-yorkpoton Wes a [ced Apa 1, 2014} MA, C. 2012), Gri orSaoct An? Negi the Mol Gcogupies ofthe Crenive Ci “jun of Ui Ain, 342) 18-208. it ut McCargo, A (2012, Fw nd Far Cui Cole Paint Mins Langs ADL Femle Mu leer “Avalon: wo hinges i 2012/03/02/ow-m-ae women gran 1S26217 he [Accesat November 21 2013) ‘Macdonald, N. 2002). The Caf See: Yh, Miya ety i Lon Now Vor Palgane Msc Maier N.8Nast] {1974 209) The Fat of Git. New od. New Vor: I Books Moree, D- 2011). Ring wh ‘Koowlay i Se The Soh Aca ip Hop Sees Dicuss ‘om Race al Knowle. Ms 2). 96-108, Mile, 202). ans Kino: Sut Pao Nov Yk ico: Unive Pes of Missi OAR G09, Gil ST ia MOC one i) ee fo rer youtube ht payer [ceed March 12, ‘bon, ML (213), Das Sf Bow ie # Gil wh Ct Ha ord, Ava few: wo harcore Aso! Ad ‘ab. (2012) Inrvew wth Fee! BLISTOLEUM [ltemer.Avalble Fons hip! Sesicapabn cn? Deidre ee fae ce abn}. 213). Be About: GsttesPerming Fenn Cm wee Si, $9219). A116. abi, J @013). Shing Aetstic: The Sick yp Gil Perfo Crew ina Viral Wold [ene {nj Lennon & M, Bora (a). Rico, 25. Asleep times pon! indestna [Aecened Ape 7,214) Pain. J. O13) Wipe Wf and TWA Rant Asin: An once with Bla Sucney ene ‘abit hepa sme oom ie pg ce pe fakin J. 20180), Inerview with Sel BUSTOLEUM [lta], Avaisble om: up/jesiapbon. ‘on/2013/021iteriew-withst Babin, J. 0130, Lets Be Cle Aiko and Fath47 ARE NOT ‘Female Banksy eee {LSTOLEUM. Avie rome ha Seicpabon.com/201/10722/ee-le keand ata srenot frets, Babin. J. BOIS. Fllowing Carmen Sandieg. ce Mist? Around Athins. BUSTOLEUM [lee ‘Avail fom: hep eration con/201 10/24 ll sea he Pan.) (2044) tmerciew with Ay TCS: A Ponce ‘Home Ga t Hip Hap Hetry, Newer Pema Jounl of Fomine Ty, 240), bs J Gora). Note on Seeee Art Night in Doi SUSTOLEUM [need Avie fons "ean on o014/28 tes neg eda snd Now York, ty TDR Te oa Peo 90 Gender and the writing onthe wal Pain, J 2014), Dig Inerviw with Shania Hasan, “Dreaming Galt’ in Kab Afonso ‘SUSTOLEU [lteres. Ava fo ip estespabon com/ 2014/04/19 dg sterien- isons has-dcaing gait kabul panic Pace, B 2011). Basin Hip Fp Speak fom the Magi: Hc om Tape. agave Mace "York Pps, S.A (199). Halong’: Gf and Cans 1-4. Chica, IL: Univesity OF Chicago Pres. Pas (1999), The At of Ceting ser. New Vask: Se. Matt's Pes Rio Free Epo: (2012), Foe Cini Seg Mak. In Kal [nine Veo. Avale Thom: war elon vad 2460846 hl [Acced Mare 18,2014, ‘Senna, W. (200), UTAH Fase Gis Charges in Queens Cou. ANIMAL [lotr Avail Trane ork son 209/tah-cee gt charesiequeen-cou [Acces A921 siege (1998) Lady Pik: Gea wh a Feminist logon MS. Magazin 30) 6-68 ‘Swemor, EM, (2013), Jk Fomle Grit Led [Online Video), December 28, Avisle fom: war Sounbe con’ wath?veswWEGG:PAR Axfeatte™ youtube pats player [Accosed March 19,201) swers 200), CRAFPY/ARD [lent Avail rons apace om graiané [Acco Ape 1, at). ‘TEDs Tills 2012), Fons one Wal: es Pain ut TEDsWWomen 2012 [Online Video). Decem>er 4. Avalale thom wir youre com/walchiv-s 4JOexUOMAfeaeite= youre gat payer [Acces Minch 20, 2004) ‘estetaktebona DO), or and Feral Fra Sa Jam [Online Video}. Ocsober20. Ava em: rons youn cn/ ate =pXUeFpeleseue™ yout gat plye Accessed Ap 5,204 ‘jee. B01, UTAH te Fre. To Relene Photo, Dice Gri [lee ANIMAL, Avaible {in ip//aranewyonk con/2010 tae tele photos dsc [Accsed May 5,20) ‘Tune. B 2012), CLAW’ Gis tnd NASCAR Trick (ltt). ANIMAL. Ausable cm: ay //nimalne york com/2012/claws t-te tuck [Accesed Api 21, 2014) UshEther 2008) UTAH © EVHER [Iter] Bvake fom: worw athetbercom/sbou [Accesed ‘Ape 21, 2014) \Waconek, A. 011), Gri and Sit A: New York: Thames & Huon Wyaee D- O15) Seow ofe Fem Ronay ti and Fah Take ons Male Denna Soret A Wed teem Avable ron: ww inkependenscath/at-enercnnen/at/fenurevinsearc-oba Teme banksy atk-andfht?-tke-on-»mleonintodarcet et werd SSK2082 Il [Accs Apa. 2015). hn, New on