Abstract
This chapter explores street art by categorizing it within the scope of street culture by analyzing street art's relationship with graffiti and how it evolved from this practice. Street art has also been labeled and described as post-graffiti. Farris claims that post-graffiti challenges the art establishment and allows the public to define what art is by recognizing street art as art in the absence of the museum. N. Riggle acknowledges that we entered this post-historical art world because we allowed everyday objects like Warhol's boxes into the gallery. The borders between practitioners was blurring, but as new terminology was developed, the division between street art and graffiti became clearer. The concept of street art gained international momentum in the 1990s and 2000s as its proponents challenged the borders of graffiti and edged close to traditional notions of professional artists. In September 2010, a line of fans stretched for blocks outside of the Echo Park-based gallery Subliminal Projects.
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