Abstract
ABSTRACTThis essay theorizes the notion of the emplaced vernacular, a type of vernacular expression that is mobilized by the production of aesthetics in particular places. I argue that 1970s graffiti in New York City emerged as an aesthetic rupture in response to the spatial exigencies of postwar urban renewal projects. Analysis of The New York Times coverage of graffiti writers “Kilroy was Here” from WWII and “Taki 183” from the 1970s demonstrates how the force of this emplaced vernacular was disciplined within dominant spatial ideologies, producing an aesthetic that continues to enable and constrain contemporary efforts of vernacular subjectification.
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