Graffiti And Street Art

A refreshingly jargon-free survey of what many consider the art movement of the twenty-first century. Whether adored or abhorred, graffiti and street art provoke passionate debate. This is the first comprehensive popular survey of the art movement around the world. Organized thematically, it explores the origins of the movement and its evolution, the relationship between street art and the urban environment, its interactions with (or rejection of) the market and the world of commercial galleries, and the culture of street art online. The book features a wide range of artists working in different media and styles across multiple countries. It explains the terms and language of street art—from tags and throwies to culture jamming and subvertising—as well as its multiple influences and sub-genres.

DIVAn authoritative guide to the most significant artists, schools, and styles of street art and graffiti around the world/div

The Routledge Handbook of Graffiti and Street Art integrates and reviews current scholarship in the field of graffiti and street art. Thirty-seven original contributions are organized around four sections: History, Types, and Writers/Artists of Graffiti and Street Art; Theoretical Explanations of Graffiti and Street Art/Causes of Graffiti and Street Art; Regional/Municipal Variations/Differences of Graffiti and Street Art; and, Effects of Graffiti and Street Art. Chapters are written by experts from different countries throughout the world and their expertise spans the fields of American Studies, Art Theory, Criminology, Criminal justice, Ethnography, Photography, Political Science, Psychology, Sociology, and Visual Communication. The Handbook will be of interest to researchers, instructors, advanced students, libraries, and art gallery and museum curators. This book is also accessible to practitioners and policy makers in the fields of criminal justice, law enforcement, art history, museum studies, tourism studies, and urban studies as well as members of the news media. The Handbook includes 70 images, a glossary, a chronology, and the electronic edition will be widely hyperlinked.

Wouldn't it be awesome if you could see how the sketches of your graffiti pieces would look on a brick wall? Well, now you can! Because you can practice your hand style and design your own graffiti masterpieces on the 50 brick wall graffiti sheets in this street art sketchbook! But, if you'd rather practice some of your tags, throw-ups and wildstyle creations on blank white sheets of paper - no problem! Because each page is single sided, giving you over 50 blank pages to sketch on too. So what's the main features of this graffiti blackbook? Well, you get an incredible: 50 brickwork pages (10 different grayscale designs, 5 of each design) Single sided pages to prevent bleed through 80 colors can be tested on the 2 color test pages "Pieces By" page so you can lay claim to your graffiti blackbook And don't forget you can use the "Look inside" feature to see some of these pages for yourself! So give your graffiti designs a more realistic feel and grab your very own brick wall blackbook today. GO ON - SCROLL UP AND GRAB YOUR UNIQUE STREET ART SKETCHBOOK!

Graffiti and street art images are ubiquitous, and they enjoy a very special place in collective imaginary due to their ambiguous nature. Sometimes enigmatic in meaning, often stylistically crude and aesthetically aggressive, yet always visually arresting, they fill our field of vision with texts and images that no one can escape. As they take place on surfaces and travel through various channels, they provide viewers an entry point to the subtext of the cities we live in, while questioning how we read, write and represent them. This book is structured around these three distinct, albeit by definition interwoven, key frames. The contributors of this volume critically investigate underexplored urban contexts in which graffiti and street art appear, shed light on previously unexamined aspects of these practices, and introduce innovative methodologies regarding the treatment of these images. Throughout, the focus is on the relationship of graffiti and street art with urban space, and the various manifestations of these idiosyncratic meetings. In this book, the emphasis is shifted from what the physical texts say to what these practices and their produced images do in different contexts. All chapters are original and come from experts in various fields, such as Architecture, Urban Studies, Sociology, Criminology, Anthropology and Visual Cultures, as well as scholars that transcend traditional disciplinary frameworks. This exciting new collection is essential reading for advanced undergraduates as well as postgraduates and academics interested in the subject matter. It is also accessible to a non-academic audience, such as art practitioners and policymakers alike, or anyone keen on deepening their knowledge on how graffiti and street art affect the ways urban environments are experienced, understood and envisioned.

Bonadio brings together experts to provide the first comprehensive analysis of issues related to copyright in street art and graffiti. This book sheds light on the legal tools available for artists and offers policy and sociological insights to spur further debate. It will appeal to legal scholars and law practitioners around the world.

Over the last forty years, graffiti and street-art have become a global phenomenon within the visual arts. Whilst they have increasingly been taken seriously by the art establishment (or perhaps the art market), their academic and popular examination still remains within old debates which argue over whether these acts are vandalism or art, and which examine the role of graffiti in gang culture and in terms of visual pollution. Based on an in-depth ethnographic study working with some of the world’s most influential Independent Public Artists, this book takes a completely new approach. Placing these illicit aesthetic practices within a broader historical, political, and aesthetic context, it argues that they are in fact both intrinsically ornamental (working within a classic architectonic framework), as well as innately ordered (within a highly ritualized, performative structure). Rather than disharmonic, destructive forms, rather than ones solely working within the dynamics of the market, these insurgent images are seen to reface rather than deface the city, operating within a modality of contemporary civic ritual. The book is divided into two main sections, Ornament and Order. Ornament focuses upon the physical artifacts themselves, the various meanings these public artists ascribe to their images as well as the tensions and communicative schemata emerging out of their material form. Using two very different understandings of political action, it places these illicit icons within the wider theoretical debate over the public sphere that they materially re-present. Order is focused more closely on the ephemeral trace of these spatial acts, the explicitly performative, practice-based elements of their aesthetic production. Exploring thematics such as carnival and play, risk and creativity, it tracks how the very residue of this cultural production structures and shapes the socio-ethico guidelines of these artists’ lifeworlds.

The original collection featured in "Graffiti World" highlighted more than 2,000 illustrations by 150 artists from around the world. This updated edition includes a new section devoted to work created in the five years since the book's first edition.