Complex relationships between detournement and recuperation in Melbourne's street (graffiti and stencil) art scene

Abstract

The Society of the Spectacle, written by Guy Debord in the late 1960s, critiques the commodification of the post-industrial city, with its seductive spectacles that induce citizens to increasingly passive consumption. This article will argue that in the 40 years since Debord first developed his theories, it has become apparent that the relationship between 'spectacle' and 'commodity' is more complex and nuanced than he originally envisaged. It will focus specifically on the critical urban practice of street art in Melbourne and the discursive power plays that occur between street (graffiti and stencil) artists, authorities and commerce. © 2008 Taylor and Francis.