Art, public spaces, and private property along the streets of New Orleans

Abstract

In this article, I investigate how and why a street art controversy that emerged in post-Katrina New Orleans was transformed from a dispute over property transgressions to a broader struggle over the meanings of art amidst the city’s devastated condition. The controversy began when a street art initiative by the New Orleans artist Rex Dingler invoked a backlash of anti-graffiti activism. In response, local artists began painting on the walls. When the locals were joined by artists from different cities, the discussion intensified about the merits of street art as well as commentary on and reflection of a city facing systemic decline and property abandonment. Street artists, anti-graffiti activists, and property owners negotiated local private property by placing, removing and retaining graffiti, and both locals and those with no New Orleans attachments had influence. The controversy illustrates how private property functions as a public institution in addition to a system of private ownership.

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