Barrier ahead!: Sectarian murals, public art and spatial contexts in West Belfast, Northern Ireland (1981--2007)

The abundance of non-sanctioned sectarian murals throughout West Belfast, Northern Ireland, a flashpoint of sectarian aggression and political strife, prompted this study, which aims to uncover the history of the Loyalist and Republican mural traditions, and examine their formal content and aesthetic strategies. This project also explores the murals' situation within the built environment of West Belfast, and draws connections between the mural traditions of Northern Ireland and contemporary public art, specifically sanctioned public art in Belfast.;This thesis begins by surveying the two mural traditions, followed by an analysis of the built environment of West Belfast in terms of Jane Jacobs' concept of city-street economics, and an assessment of the murals relationship within the public sphere and spatial contexts of Belfast. Finally, the murals' placement within the oeuvre of public art in Belfast is explored via a discussion of the Guernica mural, which was painted in August 2007 by Republican Danny Devanney and Loyalist Mark Ervine (a first-time partnership between muralists from opposing communities).;The murals in Belfast operate within historical, political, and cultural contexts and are executed in a range of aesthetic strategies by sectarian muralists. However, they are largely marginalized from the art establishment and arts management structures of the city. Thus, the barriers that exist in Belfast not only divide the Loyalist and Republican sects, but also separate West Belfast from the city center. These divisions are rooted in socio-economic disparities further exasperated by the built environment of the city. The Guernica mural, and the bi-partisan collaboration that created it, is an example of new genre public art as defined by Suzanne Lacy, and serves as a model for creating engaging artwork within Belfast's public sphere.