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.

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.

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.

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.

"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.

A stunning collection celebrating street art from around the world - the perfect introduction to this vibrant art form, compiled by graffiti veteran KET. From Banksy and Blek le Rat to Nick Walker and Shepard Fairey, the street art movement continues to sweep the globe. An exciting and dynamic art form, it has captured the imaginations of art-lovers everywhere, appearing in high-profile exhibitions and galleries. In this introduction to some of the world's most exciting street artists, world-renowned graffiti artist, painter and urban-art historian KET brings together another 100 awe-inspiring images of urban art from around the world. This follow-up to Graffiti Planet will fascinate and inspire anyone excited by this imaginative and relevant art form.

In the last few decades, art has moved from the museums and art galleries to the streets. Visionary artists, gifted with breath- taking expressiveness, have utilized featureless and abandoned spacesof everyday life and converted them into a new artistic palette for expressing their ideas. In this context, this new art breaks the mold and speaks directly to a now-global audience without intermediaries or filters. Social themes, political criticism, and poetry materialize on a bridge, on the facade of an old building or between the railings of a courtyard. Chris Versteeg provides a detailed historical introductionto street art and graffiti, from its origins to the main trends through which it is expressed: from graffiti to sticker art, from tagging to character, and including stencil art. Thanks to the interviews by Alessandra Mattanza, the reader is provided access to twenty of the most representative exponents ofthe latest street-art scene. These artists tell their story and introduce the readers to the rationale and the ideas from which they draw inspiration.

Instafame charts the impact of Instagram--one of the world's most popular social media platforms--on visual culture in the mere eight years since its launch. MacDowell traces the intuitive connections between graffiti, street art, and Instagram, arguing that social media's unending battle for a viewer's attention is closely aligned with eye-catching ethos of unsanctioned public art. Beginning with the observation that the scroll of images on a sideways phone screen resembles nothing so much as graffiti seen through the windows of a moving train, Macdowell moves outward to give us a wide-ranging look at how Instagram has already effected a dramatic shift in the making and viewing of street art.

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. Accompanied by stunning full-page, full-color reproductions and photographs of works in situ-including many that have been lost to time -photographer and street art expert Alessandra Mattanza's impassioned and informed text follows Banksy's career trajectory from creator of message-laden stencils on London's city walls to a sought-after champion of human and environmental rights. She investigates many of the key images that populate Banksy's work-animals, children, historic figures, balloons, cartoon characters, police officers, and others. She shows how Banksy's oeuvre has expanded beyond graffiti and stenciling and how his art has helped support his activism in a variety of causes-from calls for peace in the Middle East to the preservation of the natural environment. Best of all she helps readers make sense of the rather unusual path Banksy has chosen-an artist who uses his global platform to raise awareness about the underserved, rather than to his own celebrity. Readers will come away with a new understanding of how Banksy helped transform an illegal act of criminal damage into a high art form, and how, by ridiculing institutionalized art, he has achieved enormous fame within those very institutions.

If street art is, in itself, an act of rebellion, it is tragically ironic that the genre seems dominated by men. This exciting book is an important first step in shedding light on the substantial number of women who are gaining fame in the street art world. It brings together the work of 24 artists, through dazzling photographs of their work and intimate portraits of their lives based on interviews collected by award-winning journalist Alessandra Mattanza. On walls, sidewalks, prison cells, grain silos and other nontraditional canvases, these artists tackle ideas around empowerment, feminism, the pink revolution, body shaming and body imagery, racism, and the climate crisis. From Oklahoma City and Brooklyn, Tatyana Fazlalizadeh makes site specific work that considers how people experience race and gender within their surrounding environments. South African multidisciplinary artist Faith XLVII imbues her narratives with a longing for a deeper connection to nature, and a resurrection of the divine feminine. Italy's Camilla Falsini incorporates joyful, bold colors and simple shapes to deliver serious messages about the environment. Shamsia Hassani, one of Afghanistan's first female street artists, makes vibrant murals and paintings in which women play musical instruments as a vehicle for self-expression. Bursting with colorful photographs of works in situ as well as in detail, this thrilling and incisive book proves that street art is not only female-it's the essence of conceptual rebellion itself.

In this book, curator Ingrid Beazley draws parallels between classic and contemporary styles, showcasing how works from the Dulwich Picture Gallery s permanent collection by painters such as Rembrandt, Gainsborough, Rubens, Van Dyck and Murillo have influenced works by street artists working in the local area such as Stik, Conor Harrington, Thierry Noir, Phlegm and RUN. Featuring pieces by 21 internationally renowned street artists, the book is illustrated with specially commissioned colour photography throughout.