This study examines the waves of graffiti that occur before,
during, and after a conflict-important tools of political
resistance that make protest visible and material. Graffiti makes
for messy politics. In film and television, it is often used to
create a sense of danger or lawlessness. In bathroom stalls, it is
the disembodied expression of gossip, lewdness, or confession. But
it is also a resistive tool of protest, making visible the
disparate voices and interests that come together to make a
movement. In Conflict Graffiti, John Lennon dives into the many
permutations of graffiti in conflict zones-ranging from the protest
graffiti of the Black Lives Matter movement in Ferguson and the
Tahrir Square demonstrations in Egypt, to the tourist-attraction
murals on the Israeli Separation Wall and the street art that has
rebranded Detroit and post-Katrina New Orleans. Graffiti has played
a crucial role in the revolutionary movements of these locales, but
as the conflict subsides a new graffiti and street art scene
emerges-often one that ushers in postconflict consumerism,
gentrification, militarization, and anesthetized forgetting.
Graffiti has an unstable afterlife, fated to be added to,
transformed, overlaid, photographed, reinterpreted, or painted
over. But as Lennon concludes, when protest movements change and
adapt, graffiti is also uniquely suited to shapeshift with them.
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