In Vacuums of Law We Find: Outsider Poiesis in Street Art and Graffiti

Finchett-Maddock, Lucy

doi:10.1057/978-1-137-54405-6_38

Cited by 3 publications

(2 citation statements)

References 16 publications

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“…39 Furthermore, it is interesting to consider an increased use of art within activism, and the innate presence of law, as well as the way social movement and resistance scholars, again, are seeking to understand their subject, converge on the apparatus, tools and strategies of law within recent research. 40,41 In protest, there is always an element of law, but increasingly art too. McKee talked of the Occupy movement and encamped protests of the 1990s, as a form of art through their performative and subversive gestures of alternative ways of being.…”

Section: Introductionmentioning

confidence: 99%

Forming the Legal Avant-Garde: A Theory of Art/Law

Finchett-Maddock

2019

Law, Culture & the Humanities

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This piece seeks to account for an increased interest in the intersection of art and law within legal thinking, activism and artistic practice, arguing there to exist the phenomena and movement of ‘art/law’. Art/law is the coming together of theory and practice in legal and political aesthetics, understood as a practice, (im)materially performed. It is seen as a natural consequence of thinking law and resistance in terms of space and time, accounting for a turn towards the visual, the practical and the role of affect, within ways of knowing. Art/law is a symptom of the end of art and end of law, synchronically rendered. Divisions between legal and aesthetic form have been well rehearsed within legal aesthetics scholarship, from law and literature, to critical legal studies’ work with images, text and performativity, and now law’s Anthropocene. Art/law as a practice, however, is argued as an emergent onto-epistemic-ethics of necessity, a movement of seeing, being and knowing in response to the advancement of spectacle. It is the simultaneous reunion of law, art and resistance as one, breaking down the institutional artifice of art worlds and law worlds, offering a form of ‘resistant (in)formalism’, that accounts for matter and change and asserts convergence as a medium. It is an inclusion of the uncertain and the disordered, that is an opening for the audience. This resistant (in)formalism describes the role of form, audience and practice within property, legal and aesthetic establishment, offering a countering of separatism at the end of art and the end of law, through a praxeology of art/law in seeing, thinking and action.

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Section: Introductionmentioning

confidence: 99%

Forming the Legal Avant-Garde: A Theory of Art/Law

Finchett-Maddock

2019

Law, Culture & the Humanities

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“… 17 There is a wider literature in cultural legal studies on the co-implication of art and law. Some of this work is about ‘law’s art’: how art is judged in courtrooms or regulated in legislation (Douzinas and Nead, 1999; Finchett-Maddock, 2017). Some is about the aesthetics of law itself, for instance, asking whether law is driven by its own sense of beauty and form (Gearey and Gardner, 2001; Riles, 2005; Scarry, 2013, p. 72) or considering how law is constituted by and operates through official metaphors or visual and material representations (Mussawir, 2005; Dahlberg, 2012; Goodrich, 2014; Crawley, 2015; Jeffrey, 2017).…”

mentioning

confidence: 99%

Four Pieces on Repeal: Notes on Art, Aesthetics and the Struggle Against Ireland’s Abortion Law

Enright¹

2020

Feminist Review

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The Repeal campaign articulated new and transformative relationships between law, reproduction and the political in Ireland. During the campaign, ordinary people took ownership of and participated in mutual teaching and critique of law on a wide scale. Art, along these lines, was often used to document and archive the injustices worked by the 8th Amendment. However, art also became a means of imagining law otherwise. In this piece, I use Jacques Rancière’s work on the relationship between aesthetics and politics to analyse artistic contributions to feminist legal discourses associated with Repeal.

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Works and Walls: Graffiti Writing and Street Art at the Intersection of Copyright and Land Law

Iljadica¹

2019

The Cambridge Handbook of Copyright in Street Art and Graffiti

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In Vacuums of Law We Find: Outsider Poiesis in Street Art and Graffiti

Cited by 3 publications

References 16 publications

Forming the Legal Avant-Garde: A Theory of Art/Law

Forming the Legal Avant-Garde: A Theory of Art/Law

Four Pieces on Repeal: Notes on Art, Aesthetics and the Struggle Against Ireland’s Abortion Law

Works and Walls: Graffiti Writing and Street Art at the Intersection of Copyright and Land Law

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