Capturing the City: Photography from Howard S. Becker’s Perspective Applied to the Sociological Study of Street Art

Abstract

This article examines the relevance of photography in the sociological study of street art, drawing on Howard S. Becker’s perspective. It argues that beyond its documentary function, photography serves as an analytical tool that contributes to the construction and redefinition of graffiti and street art. From an interactionist approach, its role in legitimizing and circulating these artistic expressions is highlighted, both within local communities and the global market. The study is structured around three key dimensions. First, it analyzes how photography facilitates the validation of urban art, enabling its preservation and recognition in both local and institutional spheres. Second, it examines its impact on artists’ visibility and the consolidation of street art within exhibition circuits and digital platforms. Finally, it explores photography’s function as a tool for social analysis, shedding light on the dynamics of cooperation, conflict, and transformation of public space associated with graffiti and street art. In conclusion, the article asserts that photography is not a passive medium but a key actor in the redefinition of urban art and its integration into the contemporary city. It offers new possibilities for the sociological study of visual culture and public space.