Drunk on Power, Again? It's only Common Sense After 20 years in AA, author Benny Phisheraree presents 99 more 'Ideas to Ponder' about the current state of leadership and how power has an intoxicating effect creating consequences that affect followers.

Bogota Street Art is the first in a series that the passionate urban art documentarian, Jacqueline Hadel, is offering to the world. This quaint book features exciting and poetic visual images from Bogota, Colombia collected over four months in 2012.

This is a stunning visual showcase of Barcelona's street art renaissance. The new concept of urban art resists being caged within the walls of abandoned factories, run down housing estates, and subway cars. Its motives are much broader than those of the movement that started more than thirty years ago - we can now speak of a new "renaissance," an explosion of creativity, new ideas, and talent with thousands of artists from all over the world who display their innovative works of art on the streets, using them as a gigantic museum.

Art, for Seerveld, belongs to the very infrastructure of a good society, in the same way that a country's economy, transportation system, or media network do: "With a vital artistic infrastructure priming its inhabitants' imaginativity, a society can dress its wounds and be able to clothe and mitigate what otherwise might become naked technocratic deeds." Redemptive Art in Society, introduced by Adrienne Dengerink Chaplin, addresses the need for Christian public artistry and ways in which Christians can be stewards of art.

Banksy's NYC Residency was the first of its kind; he was going to attempt to put a piece a day on the streets of New York. Jacqueline Hadel was there for all of it and on October 7th, she took a picture that was used by Banksy on his official website. Here's a book with original photographs and anecdotes describing the residency from the perspective of a photographer, writer, and more than anything, a fan.

When the term "Hip Hop" is mentioned, most people think "rap music." But Hip Hop culture is more than Rap music. Hip Hop is made up of five "elements" and Graffiti writing is one of those five elements of Hip Hop culture. This is will teach children of all ages about the origins and growth of Graffiti writing in the United States.

Art Out of the Ordinary You do not have to walk very far in any city today before seeing art plainly exhibited on the street. A building wall, sidewalk, traffic sign, or fence make an ideal canvas, transforming the urban landscape into an outdoor gallery. This art of the public space, widely referred to as graffiti or street art, has origins in the 1960s when it began as a subversive method of public communication for youth in Philadelphia and New York City. Over the last 40 years, a global phenomenon has taken over the streets of Paris, Berlin, Tokyo, Los Angeles, Toronto, London, Sao Palo, Madrid, Melbourne, Tel Aviv, and Amsterdam, giving rise to one of contemporary art and culture's most important movements. This book presents a collection of photographs of art on the streets from around the world: New York City, Miami, Santa Fe, and Camden in the United States, Montreal and Toronto in Canada; Ravello and Siracusa in Italy; Barcelona, Spain; Tel Aviv and Acre in Israel, Luang Prabang, Laos; London, England; Casablanca and Essaouira in Morocco; and Amsterdam, Holland. The scope of these photographs presents graffiti, street art, and public art, as well as art simply put on public display. The geographical span coupled with the fact that many documented sites are not considered hotbeds for urban art production indicates the movement's global impact. Mediums range from graffiti, stencil art, and wheatpaste to site-specific installation and sculpture. Represented are the various categories used to label art on the street: illegal, commissioned, sanctioned, and unsanctioned. The highlighted works seem to be very different at first look, but there is a very strong bond connecting them. Each of these works presents us with art that is out of the ordinary.

Ami (short for Amitai, ahh-mee-tie) Plasse is a super-prolific NYC native artist who compiled a collection of almost 2000 drawings of the moments and characters he encountered on his daily subway ride between Brooklyn and Manhattan from 2007-2011. The best are in this volume of Ami Underground.

Hailed as the seminal study of spray can art of the 1970s and 1980s, "Aerosol Kingdom" explores the origins and aesthetics of graffiti writings.

From a vast array of inherited traditions and gritty urban lifestyles talented and renegade young New Yorkers spawned a culture of their own, a balloon-lettered shout heralding the coming of hip-hop. Though helpless in checking its spreading appeal, city fathers immediately went on the attack and denounced it as vandalism. Many aficionados, however, recognized its trendy aesthetic immediately. By the 1980s spray-paint art hit the mainstream, and subway painters, mostly from marginal barrios of the city, became art world darlings. Their proliferating, ephemeral art was spotlighted in downtown galleries, in the media, and thereafter throughout the land. Not only did the practice of "public signaturing" take over New York City, but also, as the images moved through the neighborhoods on the subway cars, it also grabbed hold in the suburbs. Soon it stirred worldwide imitation and helped spark the hip-hop revolution.

As the artists wielded their spray cans, they expressed their acute social consciousness. "Aerosol Kingdom" documents their careers and records the reflections of key figures in the movement. It examines converging forces that made aerosol art possible--the immigration of Caribbean peoples, the reinforcing presence of black American working-class styles and fashions, the effects of advertising on children, the mass marketing of spray cans, and the popular protests of the 1960s and 1970s against racism, sexism, classism, and war.

The creative period of the movement lasted for over twenty years, but most of the original works have vanished. Official cleanup of public sites erased great pieces of the heyday. They exist now only in photographs, in the artists' sketchbooks, and now in "Aerosol Kingdom."

A fascinating look at Keith Haring's New York City subway artwork from the 1980s Celebrated artist Keith Haring (1958-1990) has been embraced by popular culture for his signature bold graphic line drawings of figures and forms. Like other graffiti artists in the 1980s, Haring found an empty canvas in the advertising panels scattered throughout New York City's subway system, where he communicated his socially conscious, often humorous messages on platforms and train cars. Over a five-year period, in an epic conquest of civic space, Haring produced a massive body of subway artwork that remains daunting in its scale and its impact on the public consciousness. Dedicated to the individuals who might encounter them and to the moments of their creation, Haring's drawings now exist solely in the form of documentary photographs and legend. Because they were not meant to be permanent-only briefly inhabiting blacked-out advertising boards before being covered up by ads or torn down by authorities or admirers-what little remains of this project is uniquely fugitive. Keith Haring: 31 Subway Drawings reproduces archival materials relating to this magnificent project alongside essays by leading Haring experts. Distributed for No More Rulers

In cities and towns throughout the world you may see an area of sidewalk decorated with chalk or pastels. This art form originated in Italy during the 16th century, with vagabond artists who painted religious pictures directly on the paved public squares, using chalk and charcoal. Thanks to the International Street Painting Festival in Grazie di Curtatone in Northern Italy, the art form has been revitalized, and festivals such as Absolut Chalk in Pasadena and the Italian Street Painting Festival in San Rafael, CA, attract up to 600 exhibitors and 60,000 visitors annually. Part folk art, part performance art, this fascinating genre, where chalk is substituted for paint and asphalt or concrete for canvas, is growing in popularity in the virtual world too, with online blogs and video streams celebrating the art.
Packed with vibrant examples from the author and other leading international street painters, Sidewalk Canvas includes magical 3-D illusions, original amusing twists on the old masters and works by artists famous in other media. In addition to a gallery of the best street painting from around the world, there are insights into how it is executed, where to find it, and how to create your own work. As well as appealing to practicing artists, art educators and the hundreds of thousands attending festivals worldwide, the book will also interest those commercial organizations seeking to commission street paintings for promotional purposes.

This, the sixth volume in the series 'Studies in Contemporary and Historical Archaeology', assembles a series of innovative studies in the historical archaeology of graffiti. Contents: 1) Wild Signs: An Introduction (Jeff Oliver and Tim Neal); 2) Basque Aspen Carvings: The Biggest Little Secret of Western USA (Joxe Mallea-Olaetxe); 3) Elbow Grease and Time to Spare: The Place of Tree Carving (Jeff Oliver and Tim Neal); 4) Magic Markers: The Evocative Potential of Carvings on Stanton Moor Edge, Derbyshire, UK (Stella McGuire); 5) Traces of Presence and Pleading: Approaches to the Study of Graffiti at Tewkesbury Abbey (Kirsty Owen); 6) Signs of the Times: Nineteenth - Twentieth Century Graffiti in the Farms of the Yorkshire Wolds (Katherine Giles and Melanie Giles);

A mural renaissance swept the United States in the 1930s, propelled by the New Deal Federal Art Project and the popularity of Mexican muralism. Perhaps nowhere more than in New York City, murals became a crucial site for the development of abstract painting Artists such as Stuart Davis, Arshile Gorky, Willem de Kooning, and Lee Krasner created ambitious works for the Williamsburg Housing Project, Floyd Bennett Field Airport, and the 1939 World's Fair. Modernism for the Masses examines the public murals (realized and unrealized) of these and other abstract painters and the aesthetic controversy, political influence, and ideological warfare that surrounded them. Jody Patterson transforms standard narratives of modernism by reasserting the significance of the 1930s and explores the reasons for the omission of the mural's history from chronicles of American art. Beautifully illustrated with the artists' murals and little-known archival photographs, this book recovers the radical idea that modernist art was a vital part of everyday life.

NYC graffiti art, heavy metal, comic books, and fantasy art intersect here in Louie "KR.ONE" Gasparro's visual autobiography. This legendary Queens artist-drummer weaves these powerful influences into a medium he calls "Graffantasy," creating tags, wall pieces, paintings and illustrations, model trains, jackets, and more. Gaze at this modern Renaissance man's work from 1977 to the present, and trace his evolution from his adolescent days watching bombed subway cars whirring by in a KOLORSTORM, to the underground period tagging trains and evading cops, to his legal works and whole-school buses. Starting with a scrapbook-like photo collection from Louie's youth and his other career as drummer of several heavy metal bands, the book moves on with elaborate sketches from the artist's blackbooks, and colorful concert posters and album covers. Through a stunning array of styles and techniques, witness KR.ONE's transformation from restless punk to major decorative artist and abstract painter.

The politically charged art of Robbie Conal is gnarled, gut retching, and emotionally laden. Featuring every image in Robbie Conal's storied poster campaigns, this is the definitive history of "America's foremost street artist" (Washington Post). A foreword by Shepard Fairey, American contemporary street artist, graphic designer, and activist, sets the scene. Conal's satirical posters of political figures are given richer context as his life story is insightfully joined with art criticism by expert Daichendt. Today honored by museums and arts organizations around the world, Conal hit high speed during the Reagan administration in 1986, when he began turning his grotesque portraits into street posters. We see Conal's life come together at a critical moment to attack issues of censorship, war, social injustice, and the environment.

Photographer and master printer Brian Young first arrived in New York City in 1984. He witnessed all the well-known ills of '70s and early '80s New York, finding the city slowly, haltingly recovering from an economic depression. Industry and manufacturing jobs had left the city, and the population continued to drain out to the suburbs. The "crack epidemic" was on the front pages and on the streets. Abandoned shells of burnt-out cars littered the roads and muggings were simply a fact of daily life. Young found his camera increasingly drawn to the subway system--one of the great social levelers of life in New York City and, increasingly, the canvas for an explosive profusion of graffiti. Brian Young: The Train NYC 1984 collects the photographer's quiet, black-and-white shots of the subway from 1984, bringing a vanished New York evocatively back to life.

In The Writing of Where, Charles Lesh examines how graffiti writers in Boston remake various spaces within and across the city. The spaces readers will encounter in this book are not just meaningful venues of writing, but also outcomes of writing itself: social spaces not just where writing happens but created because writing happens. Lesh contends that these graffiti spaces reinvent the writing landscape of the city and its public relationship with writing. Each chapter introduces readers to different writing spaces: from bold and broadly visible spots along the highway to bridge underpasses seldom seen by non-writers; from inconspicuous notebooks writers call "bibles" to freight yards and model trains; from abandoned factories to benches where writers view trains. Between each chapter, readers will find "community interludes," responses to the preceding chapters from some of the graffiti writers who worked on this project. By working closely with writers engaged in the production of these spaces, as well as drawing on work invested in questions of geography, publics, and writing, Lesh identifies new models of community engagement and articulates a framework for the spatiality of the public work of writing and writing studies.

A complex and contradictory graffiti culture has been brewing over the last few decades in one of the least expected settings-China's capital. Through an unparalleled collection of one local photographer's images, as well as interviews with 25 prolific artists, see how Beijing has developed its graffiti movement against the backdrop of the once-secluded nation's rise to global economic might. While Beijing graffiti artists take their cue from the subculture's Western origins, the local scene has also been highly influenced by both foreign visitors and traditional Chinese art and culture. Profiles of significant artists explore the dynamics of creative self-expression in such a perceivedly authoritarian setting, including the surprising amount of freedom they have to make their art undisturbed compared to Western counterparts. A must for graffiti enthusiasts, Sinophiles, and anyone interested in how this colorful subculture is still growing half a century after it emerged.

Most of the everyday writing from the ancient world--that is, informal writing not intended for a long life or wide public distribution--has perished. Reinterpreting the silences and blanks of the historical record, leading papyrologist Roger S. Bagnall convincingly argues, however, that ordinary people--from Britain to Egypt to Afghanistan--used writing in their daily lives far more extensively than has been recognized. Marshalling new and little-known evidence, including remarkable graffiti recently discovered in Smyrna, Bagnall presents a fascinating analysis of writing in different segments of society. His book offers a new picture of literacy in the ancient world in which Aramaic rivals Greek and Latin as a great international language, and in which many other local languages develop means of written expression alongside these metropolitan tongues.

Most of the everyday writing from the ancient world - that is, informal writing not intended for a long life or wide public distribution - has perished. Reinterpreting the silences and blanks of the historical record, leading papyrologist Roger S. Bagnall convincingly argues that ordinary people - from Britain to Egypt to Afghanistan - used writing in their daily lives far more extensively than has been recognized. Marshalling new and little-known evidence, including remarkable graffiti recently discovered in Smyrna, Bagnall presents a fascinating analysis of writing in different segments of society. His book offers a new picture of literacy in the ancient world in which Aramaic rivals Greek and Latin as a great international language, and in which many other local languages develop means of written expression alongside these metropolitan tongues.

A sweeping history of Los Angeles told through the lens of the many marginalized groups-from hobos to taggers-that have used the city's walls as a channel for communication Graffiti written in storm drain tunnels, on neighborhood walls, and under bridges tells an underground and, until now, untold history of Los Angeles. Drawing on extensive research within the city's urban landscape, Susan A. Phillips traces the hidden language of marginalized groups over the past century-from the early twentieth-century markings of hobos, soldiers, and Japanese internees to the later inscriptions of surfers, cholos, and punks. Whether describing daredevil kids, bored workers, or clandestine lovers, Phillips profiles the experiences of people who remain underrepresented in conventional histories, revealing the powerful role of graffiti as a venue for cultural expression. Graffiti aficionados might be surprised to learn that the earliest documented graffiti bubble letters appear not in 1970s New York but in 1920s Los Angeles. Or that the negative letterforms first carved at the turn of the century are still spray painted on walls today. With discussions of characters like Leon Ray Livingston (a.k.a. "A-No. 1"), credited with consolidating the entire system of hobo communication in the 1910s, and Kathy Zuckerman, better known as the surf icon "Gidget," this lavishly illustrated book tells stories of small moments that collectively build into broad statements about power, memory, landscape, and history itself.

Fascinating pavement chalk art by a master of the craft, now with new art. "Beever's mastery and unbridled humour are on full display in these dazzling drawings, each accompanied by a description that details artistic techniques, discusses challenges the artist faced, and offers an inside look into his process." Publishers Weekly (starred review, on the previous edition). The pavement chalk artist is a master of art, perspective, creativity and performance. Julian Beever is one such extraordinary master. More than just traditional flat drawings, the works Beever creates are uniquely three-dimensional anamorphic drawings. They are drawn in perspective and distorted so the subject can be viewed properly only from one particular viewpoint. For those who are standing in the right place, his chalk drawings invite them to step right into the scene or, in the case of the artist's well-known "Swimming Pool in the High Street", dive right into the water. Pavement Chalk Artist includes a fabulous selection of Beever's most intriguing anamorphic drawings. Each one is accompanied by a description of the techniques he used and the challenges he overcame. These photographs record the development of his unusual skill and understanding of perspective. Readers can see how his art progresses and matures as he takes on commissioned works and a wealth of original, inventive subjects in locations worldwide. The photographs tell the story, giving readers both an understanding of the principles of this 3-D art form and the pleasure of sharing the scenes that passersby once enjoyed before these unique works disappeared forever. This new edition includes 16 new pages of Beever's recent art, in addition to the 16 added to the second edition, for a total of 32 new pages.

"Bue has been drawing forever. He finds his satisfaction from putting smiles on people's faces, or giving them a heart-warming feeling." Tristan Manco Clearly influenced by comics and cartoons, Bue has created a specific idiom that he translates to the street. His colourful characters brighten streets around the world. Bue is internationally acclaimed as one of Belgium's pioneers of Street Art. These days, Street Art is recognised by a broad audience and Bue's style and techniques are remarkable and distinctive. His characters interact with the local public as he travels around the world. This book presents a selection of the best works, murals and other creations.