Following the runaway success of the original edition, this unique book collects the rest of Banksy's graffiti from the last five years. With more than 100 different locations highlighted and color photographs of Banksy's street art, this is a thoroughly up-to-date catalog of his most recent work. Also included with the photographs are trivia regarding each location, a full walking tour of the remaining work in Banksy's native Bristol, and snippets of graffiti by several other artists.

"This Is Not a Photo Opportunity" is a street-level, full-color showcase of some of Banksy's most innovative pieces ever. Banksy, Britain's now-legendary "guerilla" street artist, has painted the walls, streets, and bridges of towns and cities throughout the world. Once viewed as vandalism, Banksy's work is now venerated, collected, and preserved. Over the course of a decade, Martin Bull has documented dozens of the most important and impressive works by the legendary political artist, most of which are no longer in existence.

In this collection of photographs taken in over 36 countries, Christer Loefgren explores the international art of graffiti and wall paintings. From his base in Stockholm, Sweden, Loefgren travels to places where street art can be found, including places like the Antarctic, Greenland, and Svalbard, where you may not expect to see it. The book addresses the current duality of opinion about street art: it is still viewed as a criminal act in many places, and yet at the same time it is accepted as a valid and important art form. It crosses boundaries to unite communities all around the world. Organised in two sections, the first section of this book explores the methods and motivations behind the work, while the second section focuses on street art in specific countries around the world.

"We could have been called a lot of things: brazen vandals, scared kids, threats to social order, self-obsessed egomaniacs, marginalized youth, outsider artists, trend setters, and thrill seekers. But, to me, we were just regular kids growing up hard in America and making the city our own. Being 'writers' gave us something to live for and 'going all city' gave us something to strive for; and for some of my friends it was something to die for." In the age of Banksy, hipster street art, and commissioned wall murals, it's easy to forget graffiti's complicated and often violent past in the United States. Though graffiti has become one of the most influential art forms of the twenty-first century, cities across the United States waged a war against it from the late 1970s to the early 2000s, complete with brutal police task forces. Who were the much-maligned taggers they targeted? Teenagers, usually, from low-income neighborhoods with little to their names except a few spray cans and a desperate need to be seen--to mark their presence on city walls and buildings even as their cities turned a blind eye to them. Going All City is the mesmerizing and painful story of these young graffiti writers, told by one of their own. Prolific LA writer Stefano Bloch came of age in the late 1990s amid constant violence, poverty, and vulnerability. He recounts vicious interactions with police; debating whether to take undocumented friends with gunshot wounds to the hospital; coping with his mother's heroin addiction; instability and homelessness; and his dread that his stepfather would get out of jail and tip his unstable life into full-blown chaos. But he also recalls moments of peace and exhilaration: marking a fresh tag; the thrill of running with his crew at night; exploring the secret landscape of LA; the dream and success of going all city. Bloch holds nothing back in this fierce, poignant memoir. Going All City is an unflinching portrait of a deeply maligned subculture and an unforgettable account of what writing on city walls means to the most vulnerable people living within them.

From the startingly distinctive achievements of the internationally renowned twin-brother painters Os Gemeos to the visual powers of the ubiquitous daredevil pichadores, Brazil's graffiti captivates with entirely fresh ideas, techniques and messages. Whether one's taste is for the extraordinary creative extremes generated amid urban deprivation or for crafted murals at their most elaborate, Graffiti Brasil offers both stunning photography and in-depth history and insight. With graffiti worldwide becoming more homogenized, this book is a reminder of the strengths of creative independence and the rich fruits of cultural diversity.

What ancient graffiti reveals about the everyday lives of Jews in the Greek and Roman world Few direct clues exist to the everyday lives and beliefs of ordinary Jews in antiquity. Prevailing perspectives on ancient Jewish life have been shaped largely by the voices of intellectual and social elites, preserved in the writings of Philo and Josephus and the rabbinic texts of the Mishnah and Talmud. Commissioned art, architecture, and formal inscriptions displayed on tombs and synagogues equally reflect the sensibilities of their influential patrons. The perspectives and sentiments of nonelite Jews, by contrast, have mostly disappeared from the historical record. Focusing on these forgotten Jews of antiquity, Writing on the Wall takes an unprecedented look at the vernacular inscriptions and drawings they left behind and sheds new light on the richness of their quotidian lives. Just like their neighbors throughout the eastern and southern Mediterranean, Mesopotamia, Arabia, and Egypt, ancient Jews scribbled and drew graffiti everyplace--in and around markets, hippodromes, theaters, pagan temples, open cliffs, sanctuaries, and even inside burial caves and synagogues. Karen Stern reveals what these markings tell us about the men and women who made them, people whose lives, beliefs, and behaviors eluded commemoration in grand literary and architectural works. Making compelling analogies with modern graffiti practices, she documents the overlooked connections between Jews and their neighbors, showing how popular Jewish practices of prayer, mortuary commemoration, commerce, and civic engagement regularly crossed ethnic and religious boundaries. Illustrated throughout with examples of ancient graffiti, Writing on the Wall provides a tantalizingly intimate glimpse into the cultural worlds of forgotten populations living at the crossroads of Judaism, Christianity, paganism, and earliest Islam.

Chile has long been a centre for radical propaganda painting. As early as 1940 leading Mexican and Chilean artists, including David Alfaro Siqueiros, Fernando Marcos and Gregorio de la Fuente, were painting murals in Chile. Today, Latin American street art is as innovative as any in the world, and Chile plays a leading part. Much as Spain witnessed a boom in the arts post-Franco, so, since the end of Pinochet's dictatorship in 1990, Chile has embraced an era of new freedoms. Chile has made up for lost time. The contemporary artists and graffiteros shown on these pages have their roots in Latin American propagandistic murals, but look forward. Artists such as Bomber West, Charqui Punk, Dana Pink, Elodio, Inti, Piguan, Pussyz Soul Food, Ritalin Crew, Vazko and Yisa are informed by Latin American, European and North American (especially West Coast) art and music, but have their own Chilean slant. Their carefully planned visual and verbal jokes, strategies and techniques are derived from an array of sources: Picasso, Surrealism, Pop, Sao Paulo's Os Gemoes, Vitche and Herbert, Brazilian pichacao lettering, Peruvian photorealism, Argentine stencils, Bolivian hats and masks, US subway graffiti, hip hop, punk, Barcelona's street art, Japanese animation, pornography, Gilbert & George, Brit art, Bansky. The resulting mixture is anarchic, accessible art. All parts of Chile are covered, from Arica to Punta Arenas, with special focus on Santiago and Valparaiso, both key centres of Latin American street art. Distinctive cities such as Iquique, Chillan, Concepcion and Puerto Montt, and areas of the country rarely seen, are featured. The book includes an introduction to the history and flavour of Chilean street art; a glossary of graffiti terms; manifestos; and translations of all the graffiti shown.

What ancient graffiti reveals about the everyday lives of Jews in the Greek and Roman world Few direct clues exist to the everyday lives and beliefs of ordinary Jews in antiquity. Prevailing perspectives on ancient Jewish life have been shaped largely by the voices of intellectual and social elites, preserved in the writings of Philo and Josephus and the rabbinic texts of the Mishnah and Talmud. Commissioned art, architecture, and formal inscriptions displayed on tombs and synagogues equally reflect the sensibilities of their influential patrons. The perspectives and sentiments of nonelite Jews, by contrast, have mostly disappeared from the historical record. Focusing on these forgotten Jews of antiquity, Writing on the Wall takes an unprecedented look at the vernacular inscriptions and drawings they left behind and sheds new light on the richness of their quotidian lives. Just like their neighbors throughout the eastern and southern Mediterranean, Mesopotamia, Arabia, and Egypt, ancient Jews scribbled and drew graffiti everyplace--in and around markets, hippodromes, theaters, pagan temples, open cliffs, sanctuaries, and even inside burial caves and synagogues. Karen Stern reveals what these markings tell us about the men and women who made them, people whose lives, beliefs, and behaviors eluded commemoration in grand literary and architectural works. Making compelling analogies with modern graffiti practices, she documents the overlooked connections between Jews and their neighbors, showing how popular Jewish practices of prayer, mortuary commemoration, commerce, and civic engagement regularly crossed ethnic and religious boundaries. Illustrated throughout with examples of ancient graffiti, Writing on the Wall provides a tantalizingly intimate glimpse into the cultural worlds of forgotten populations living at the crossroads of Judaism, Christianity, paganism, and earliest Islam.

This collection of original articles brings together for the first time the research on graffiti from a wide range of geographical and chronological contexts and shows how they are interpreted in various fields. Examples range as widely as medieval European cliff carvings to tags on New York subway cars to messages left in library bathrooms. In total, the authors legitimize the study of graffiti as a multidisciplinary pursuit that can produce useful knowledge of individuals, cultures, and nations. The chapters-represent 20 authors from six countries; -offer perspectives of disciplines as diverse as archaeology, history, art history, museum studies, and sociology;-elicit common themes of authority and its subversion, the identity work of subcultures and countercultures, and presentation of privilege and status.

Graffiti is a forceful way of inscribing presence or "being" in the world as well as a means of creating affective links to the potency of natural wonders, religious shrines, and ancient ruins as well as the contemporary cityscape. The photographic elevations presented in this volume represent a graffiti-punctuated pilgrim's progress built around the aesthetics of defacement. Graffiti- and mural-covered walls, buildings, automobiles, and railcars are the artful wonders, the vibrant shrines, and the dynamic ruins that structured Larry Yust's pilgrimage to some of the most famed metropolitan centers of the world. He has brought back panoramic souvenirs; vistas that let us be there in a way that is perhaps better than being there. This book celebrates the artistry and audacity of the taggers and uncommissioned muralists who decorate and deface contemporary cities.

What happens to design when cultures merge and traditions dissolve, when everything is "bastardized"? The authors of Bastard set out to learn the answers on a high-speed 21-day research trip to seven hot spots of globalization on three continents, including Mexico City, L.A., Tokyo, Hong Kong, Bangkok, Dubai and Frankfurt. Over the course of hundreds of meetings with artists, musicians, designers and authors, they collected enough prints, books, photographs, audio interviews and notes to fill an encyclopedia. The comparatively slim Bastard, which comes in at just under 400 pages, offers a portfolio from around the world. In the course of collecting it, Christian Ernst found himself coming around to this globalization thing: "Everyone is afraid of standardization. When everyone has the same design books does that mean young designers everywhere will use the same design? No--people are individual and influenced in different ways. They're simply different, and that was definitely a relief to discover " Bastard has been designed in more than 50 unique typefaces created by typographers all over the world. A selection of those fonts, a musical sound track and 50 high-resolution images are all included on the enclosed DVD.

'A beautiful, deeply affecting and powerful marriage between art and activism' - KHALED HOSSEINI, bestselling author of The Kite Runner 'These are vital conversations. Everyone should eavesdrop on them'- KAMILA SHAMSIE, author of award-winning bestseller Home Fire Conversations From Calais is a global art movement that captures moments between volunteers and refugees in poster form. Pasted on our city walls these posters amplify marginalised voices and bear witness to those who are often ignored. Features essay contributions by Osman Yousefzada, Gulwali Passarlay, Nish Kumar, Joudie Kalla, Waad Al-Kateab, Yasmin Alibhai-Brown, Ai Weiwei and Inua Ellams. 'Showcases what the world so desperately needs more of right now: heart, hope and humanity' - EMMA GANNON, author & podcaster 'These conversations remind us that the only difference between ourselves and anyone else is circumstance' - OLIVE GRAY, actor

Brighton's residents have a reputation for their vivid eccentricity. This book does not set out to prove whether this is true or not, but is a documentation of what stands out to the photographer, however exciting or mundane it may seem. A lot of the photographs are as much about the environment that the person is in as they are about that person. From there on it is up to the viewer to build a narrative.

"Although the street art is generally conveyed in a very natural matter, even his dead animal paintings seem at peace." - Streetartbio.com "Detached from the artist's identity, his detailed, illustrative animal paintings have brought him back to the world. With local species of animals as his main focus, ROA inevitably starts a dialogue about human interaction with nature and the environment, whether it is painting on the walls of a museum or in an abandoned rural factory." - Hi Fructose - The New Contemporary Magazine "One of the most influential acts of street art around the world." - The Huffington Post Fascinated by nature, the anonymous muralist and street artist ROA is inspired by the beauty of its non-human inhabitants. With great attention to detail, ROA draws over-sized black and white creatures of endemic or endangered species on buildings around the world, from Moscow to Mexico City, and from Los Angeles to London. His subjects are frequently survivors; scavengers, rodents, and unusual animals that thrive in their particular milieu.

At the end of 2020, the concrete factory in Ghent, popularly called 'the Betoncentrale', was demolished. With this book, Cultuur Gent, the cultural department of the City of Ghent, aims to keep the memory of this graffiti paradise alive. A team of experts selected the 10 most important street artists who were active onsite: ROA, Klaas van der Linden, and Bue the Warrior, among others. This book showcases the most beautiful work that adorned the walls of the factory. Street art expert Tristan Manco frames the local scene in its international context and Giulia Riva, a street art blogger, spoke to the artists about their memories of that unique place. Text in English and Dutch.

The first book to focus exclusively on women as subjects in street art, this study, part travelogue and part dialogue, examines these depictions of women artistically, politically, and culturally across continents. Interviews with artists peel back the layers between artist and image, revealing stories about their work, its context, and its environment. From artists in LA pushing back on Hollywood's shiny perfection; to painters in Costa Rica examining the cultural links of women, myth, and nature; to women in South Africa decrying domestic violence, what links these works are their temporality and public ownership. Why do wall artists choose women as their frequent and favourite subjects? What does it say about our conceptions of gender and rebellion, protest, pride, place, and community? And how does the growing commercialisation of street art affect their portrayal? Colour photos and guided historical context provoke these questions and inspire further ones.

Graffiti ('drawings or writings scratched on a wall or other surface') are to be found incised on the walls and pillars of innumerable cathedrals and churches in Great Britain. Most were done between the twelfth and early fifteenth centuries; many are valuable as examples of medieval art; and some are important for their preservation of particular styles of epigraphy. In this work, Mrs Pritchard has studied the inscriptions and drawings in a large number of churches, mostly within a radius of sixty miles of Cambridge. These graffiti are far from mere scratchings performed by unskilled hands; they are highly imaginative, boldly executed drawings, combining freedom of line with occasional fussiness of detail, and inscriptions whose clarity and precision of lettering equal in execution the contemporary manuscript. Many were subsequently covered by medieval wall paintings; others have been partly defaced by cleaning and restoration of the original stone. Mrs Pritchard illuminates a neglected corner of medieval art; and her skilful rubbings (over two hundred of them illustrate this book) preserve these curious relics of medieval artistry against the erosion of time and restoration.