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Street art
Street Art is a phenomenon and subcultural movement that reaches from the darkest urban backstreets to the most glamorous international art fairs. Simon Armstrong examines how it evolved from its origins in the 1970s New York graffiti scene to embrace many new materials, styles and techniques along the way, tracing how this marginal art form graduated into art galleries and the art market, while also heavily influencing design, fashion, advertising and visual culture. 0Despite having earned a place in the canon of 20th-century art history, Street Art's qualifications are often disputed both by the art establishment and practitioners themselves, all concerned with notions of authenticity. Examining Street Art's controversial history in detail, this book provides a full-colour worldwide journey, taking in all of the movement's significant artists and artworks, styles, materials and methods, and showcasing the works that have come to define it more than any other. It also examines its close relationship to Pop Art and Digital Art, and explores possible futures for Street Art.
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Blank Canvas
Blank Canvas is a four-point theory of twentieth century UK Art School creativity, highlighting the philosophies and practices that have influenced the development of punk, post punk, and new wave musicians. A framework for creativity emerges for artists and musicians, aiming to define the future. 20 b&w illus. New Books Network (New Books in Pop Culture) interview with Simon Strange.
eBook
Street art world
Street art and graffiti are a familiar sight in cities around the world. Neighbourhoods painted with murals are popular with tourists and tagged walls become backdrops for fashion shoots and music videos. Banksy is a global celebrity whose work sells for astonishing prices. Millions of photographs of street art are saved on smartphones, uploaded to social media and displayed on t-shirts and other merchandise. But are street art and graffiti the same thing, or do they have different histories, meanings and practitioners? Who makes street art? Who buys it? Can it be exhibited in a gallery or must it be located on the street? Why have museums started collecting street art? Is there a commercial market for street art? And will it even exist in the future? This strikingly illustrated book explores every aspect of street art, from making and photographing it to stealing and selling it. Artists working in the streets reveal both their passion for street art and ambivalence about its commodification. The rise, fall and rise again of street art in the art market is told through revealing encounters with collectors and auction houses in Paris, London, Melbourne and beyond.0Based on twenty years of research in the graffiti and street art scenes, Street Art World is the first book to provide a history and context for the words and images that appear in cities all around the world. Inviting the reader into a realm that is usually hidden, it will enthral all those who enjoy this global phenomenon.
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Painting Publics
Public art is a form of communication that enables spaces for encounters across difference. These encounters may be routine, repeated, or rare, but all take place in urban spaces infused with emotion, creativity, and experimentation. In Painting Publics, Caitlin Bruce explores how various legal graffiti scenes across the United States, Mexico, and Europe provide diverse ways for artists to navigate their changing relationships with publics, institutions, and commercial entities.
Painting Publics draws on a combination of interviews with more than 100 graffiti writers as well as participant observation, and uses critical and rhetorical theory to argue that graffiti should be seen as more than counter-cultural resistance. Bruce claims it offers resources for imagining a more democratic city, one that builds and grows from personal relations, abandoned or under-used spaces, commercial sponsorship, and tacit community resources. In the case of Mexico, Germany, and France, there is even some state support for the production and maintenance of civic education through visual culture.
In her examination of graffiti culture and its spaces of inscription, Bruce allows us to see moments where practitioners actively reckon with possibility.
eBook
Visual Vitriol
Visual Vitriol: The Street Art and Subcultures of the Punk and Hardcore Generation is a vibrant, in-depth, and visually appealing history of punk, which reveals punk concert flyers as urban folk art. David Ensminger exposes the movement's deeply participatory street art, including flyers, stencils, and graffiti. This discovery leads him to an examination of the often-overlooked presence of African Americans, Latinos, women, and gays and lesbians who have widely impacted the worldviews and music of this subculture. Then Ensminger, the former editor of fanzine Left of the Dial, looks at how mainstream and punk media shape the public's outlook on the music's history and significance.Often derided as litter or a nuisance, punk posters have been called instant art, Xerox art, or DIY street art. For marginalized communities, they carve out spaces for resistance. Made by hand in a vernacular tradition, this art highlights deep-seated tendencies among musicians and fans. Instead of presenting punk as a predominately middle-class, white-male phenomenon, the book describes a convergence culture that mixes people, gender, and sexualities.This detailed account reveals how members conceptualize their attitudes, express their aesthetics, and talk to each other about complicated issues. Ensminger incorporates an important array of scholarship, ranging from sociology and feminism to musicology and folklore, in an accessible style. Grounded in fieldwork, Visual Vitriol includes over a dozen interviews completed over the last several years with some of the most recognized and important members of groups such as Minor Threat, The Minutemen, The Dils, Chelsea, Membranes, 999, Youth Brigade, Black Flag, Pere Ubu, the Descendents, the Buzzcocks, and others.
eBook
Banksy
\"The most wide-ranging and up-to-date volume available on the enigmatic and controversial graffiti artist, this deeply researched and highly personal tribute explores how Banksy continues to defy accepted wisdom about artistic success, growing only more famous and powerful even as he sticks to his anti-establishment platform and to his mission to give a voice to the voiceless.\"-- Amazon.com.
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Walls of empowerment : Chicana/o indigenist murals of California
Exploring three major hubs of muralist activity in California, where indigenist imagery is prevalent, Walls of Empowerment celebrates an aesthetic that seeks to firmly establish Chicana/o sociopolitical identity in U.S. territory. Providing readers with a history and genealogy of key muralists’ productions, Guisela Latorre also showcases new material and original research on works and artists never before examined in print. An art form often associated with male creative endeavors, muralism in fact reflects significant contributions by Chicana artists. Encompassing these and other aspects of contemporary dialogues, including the often tense relationship between graffiti and muralism, Walls of Empowerment is a comprehensive study that, unlike many previous endeavors, does not privilege non-public Latina/o art. In addition, Latorre introduces readers to the role of new media, including performance, sculpture, and digital technology, in shaping the muralist’s “canvas.” Drawing on nearly a decade of fieldwork, this timely endeavor highlights the ways in which California’s Mexican American communities have used images of indigenous peoples to raise awareness of the region’s original citizens. Latorre also casts murals as a radical force for decolonization and liberation, and she provides a stirring description of the decades, particularly the late 1960s through 1980s, that saw California’s rise as the epicenter of mural production. Blending the perspectives of art history and sociology with firsthand accounts drawn from artists’ interviews, Walls of Empowerment represents a crucial turning point in the study of these iconographic artifacts.
eBook
Grafiteros
Fear, Ospen, Bastardilla, Hueso, Stinkfish, Era y Toxicómano, precursores del grafiti en Bogotá, narran su propia vida, y con cada relato se descubren los principios y el contexto de su obra. Grafiteros. Historia oral de la escena bogotana que redefinió la ciudad es un collage de impresiones y reflexiones sobre el arte urbano desencadenado en una urbe furiosa, hoy tatuada con tags, bombas, stencils, murales y throw-ups. Este libro es, a la vez, una historia del grafiti en Bogotá y una historia secreta de la ciudad. Construido con la ayuda de una grabadora e ilustrado con fotografías de los archivos
eBook