Date of Award

1-2025

Document Type

Thesis

Degree Name

Master of Arts (MA)

Department

Media Arts

Committee Chair and Members

Larry Banks (Chair)

Lynn Hassan

Keywords

Brooklyn, Bushwick, Fashion, Music, NYC, Paperboy Prince

Abstract

This thesis examines how Paperboy Prince, a Bushwick-based artist and activist, employs multimedia art forms to challenge social norms and foster community change. Through analysis of their music, performances, and community initiatives, particularly at the Love Gallery, this research demonstrates how Prince combines artistic expression with grassroots activism to address gentrification, economic inequality, and social justice in Bushwick, Brooklyn.

The study employs theoretical frameworks including post-cinema theory, Afrofuturism, and digital performance theory to analyze Prince's work. Key findings reveal how Prince's artistic practice creates new modes of political discourse through: (1) the fusion of digital and physical activism, (2) the use of humor and satire in protest music, exemplified in works like "Eric Adams Get Out of My Room," and (3) the transformation of commercial spaces into community resource centers, as seen in the Love Gallery's mutual aid initiatives.

This research contributes to understanding how contemporary artists can effectively merge creative practice with social activism. Prince's work demonstrates how multimedia art can serve as both cultural critique and catalyst for community empowerment, particularly in neighborhoods experiencing rapid demographic and economic change. The findings suggest that artist-activists can successfully challenge established power structures through strategic use of both traditional and digital media platforms while maintaining deep community engagement.

This research employs a mixed-methods approach combining participant observation, media analysis, and archival research conducted between January 2022 and December 2023. Primary data collection included attendance at twelve Paperboy Prince performances and events at the Love Gallery, analysis of their complete musical catalog (22 songs), and documentation of their visual art installations. Semi-structured interviews were conducted with Paperboy Prince, two community organizers, and five Bushwick residents who regularly participate in Love Gallery initiatives. Secondary sources included social media content, news coverage, and historical documents related to Bushwick's artistic development. The methodology prioritized direct community engagement while maintaining scholarly rigor through systematic documentation and analysis. Special attention was paid to the intersection of digital and physical spaces in Prince's work, documenting how their artistic practice translates across multiple platforms and contexts.

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