1. from chapter 9, "O.K. it's Culture, but is it Art?"; unfortunately, Hebdige compromises his argument by claiming "...subcultural styles...do indeed qualify as art but as art in (and out of) particular contexts..." [emphasis by W.C.D.]
2. Quotation marks, when not cited as quotes, designate terms, notions, clichÈs considered by W.C.D. to be questionable or inadequate, thus used provisionally within this essay. Italics indicate jargon considered current and viable (before passing into clichÈ?) or are used for emphasis.
3. Indeed, the institutions sponsoring this exhibition -- ARTSCAPE and Maryland Art Place -- identify explicitly with this program.
4. For a sketch of the notion of "art" as inherently alienated, as well as "utopian currents" of which Stencil Activism is presented here as a part, see 'The Assault On Culture', Stewart Home.
5. See Western Cell Division mission statement (cited in bibliography)
6. from 'Pure War', Paul Virillo/Sylvere Lotringer.
7. Many and varied stencil graffiti campaigns carried out since the 1980's through the present. See 'World War Three Illustrated' for published graphic work by these activists.
8. Detournement, defined in Situationist International Journal #1 (1958): "Short for: detournement of preexisting aesthetic elements. The integration of present or past artistic [sic] production into a superior construct of a milieu..."
9. Ellicott City and elsewhere, 1981 (?); no longer extant.
10. Still visible in various Baltimore locations, see 'The Word on the Street Turns Cryptic', Rob Hiassen, The Sun, 11/19/94.
11. For more on the differences between stencil and other graffiti, see 'Mapping Social and Cultural Space: The Ramifications of the Street Stencil', Peter Walsh's essay accompanying this one.
12. Situationist International Journal #1, 'Definitions' "Psychogeography: The study of the specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals."
13. tENTATIVELY, a cONVENIENCE, letter dated 02/10/96 ev, submitted as exhibit in On the Street - Off the Street.
14. 1953, reprinted in Situationist International Anthology.
Bailly, Jean-Christophe--Traces, in Paris Graffiti, Photographs by Joerg Huber (Thames & Hudson, New York, 1986)
Bey, Hakim--T.A.Z. (Autonomedia, Brooklyn, 1991)
cONVENIENCE, tENTATIVELY, a--How to Write a ResumÈ Volume II: Making a Good First Impression (Apathy Press, Baltimore, 1989)
Crary, Jonathan, et al.(eds)--Zone 1/2 (Urzone, New York)
Crimp, Douglas w/Rolston, Adam--AIDS Demo-Graphics (Bay Press, Seattle, 1990)
Debord, Guy--Society of the Spectacle (Black & Red, Detroit, 1983)
Deleuze, Gilles/Guattari, FÈlix--Anti-Oedipus: Capitalism and Schizophrenia (The Athlone Press, London, 1984)
Guralnik, David(ed)--Webster's New World Dictionary (Warner Books, New York, 1982)
Harris, Neil--Cultural Excursions: Marketing Appetites and Tastes in Modern America (University of Chicago Press, Chicago/London, 1990)
Hebdige, Dick--SubCulture: The Meaning of Style (Methuen, London/New York, 1970)
Hiassen, Rob--"The Word On The Street Turns Cryptic" (The Baltimore Sun, 11/19/94)
Home, Stewart--The Assault on Culture: Utopian Currents from Lettrisme to Class War (Aporia Press and Unpopular Books, London, 1988)
Virilio, Paul--Speed and Politics: An Essay on Dromology (Semiotext(e), New York, 1986) w/Lotringer, Sylvere--Pure War (Semiotext(e), New York, 1983)
Western Cell Division--Western Cell Division [Mission Statement] (Shattered Wig Review #2, Baltimore, 1988; Rampike: Subterfuge Issue, Toronto, 1988; Western Cell Division and You, Dialectical Immaterialism Press, 1988; Scouting For Boys, 1989)