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."

More than ever education students are required to study the social context of youth culture in order to understand and design meaningful, motivational curiculum. There is a need to bridge the gap between theory and practice and to address the critical issues which confront the education of youth today. In studying hip-hop graffiti, the author explores a crucial but neglected area in the contemporary training of youth workers and educators.

The author interviewed ten hip-hop graffiti writers of various race, class, and gender by audiotape and reviewed them until patterns emerged as themes, mainly issues concerning public space and community. She continued her relationship with the participants over a five-year period to observe the diversity and transformation of individuals within graffiti culture.

The study begins with a literature review from Web resources, books, and subculture magazines on graffiti in order to define The Structure of Traditional Hip-Hop Graffiti Culture. This chapter lays the basic foundation familiar to all writers and points to the main issues in order to analyze how individual writers conform to or deviate from the standard subculture. The author addresses the complex issues which are layered behind a residue of illegally painted signatures, characters, and text. There is a need for the voices of young people to be heard, especially those who have found artistic integrity, and awareness of civic and political issues on their own terms. Youth are in an ongoing struggle to construct personal identities and communities that they want to live in. Hip-hop graffiti is only one example where they have created a space, within a peer-run environment, to respect and encourage their political powers, ideas, and skills. The book asks whether an understanding of how adolescents learn outside of school can generate alternative sites for curriculum theorizing.

Twenty-nineteen marks the twenty-fifth anniversary of Maestrapeace, the monumental and fabulously detailed mural that adorns two sides of the Women's Building in San Francisco's Mission neighborhood. Weaving in myriad female figures, historical and sacred, this public art work highlights women's accomplishments across time and continents, and envisions a world healed of injustices. This beautiful book allows readers to take an extended tour of the mural, revealing intricacies and nuances that may go unnoticed from a street-level view. Angela Davis's foreword provides a rich history of the mural and the seven artists who collaboratively executed the work-a collective of women, itself a rarity in muralist tradition. Maestrapeace, the book, enriches readers' appreciation for the groundbreaking mural, and it makes this deep sense of place accessible to viewers across the globe.

Energizing the visual landscape since 1968, New York City's community murals beautify, educate, protest, celebrate, and often motivate residents to action. Collaborations between artists and neighborhood groups, these painted walls reflect the social, cultural, and political climate of their times.

The result of six years of research and hundreds of interviews, "On the Wall" brings to light murals that were hitherto "lost" to history or unknown outside their immediate surroundings. Documenting six chronological periods, the book highlights significant murals and introduces the artists and sponsors that created them. In relating the many fascinating stories behind the murals, the authors describe the interactions between artists and residents--including the controversies that have led to the destruction of several notable murals.

"On the Wall" gathers together 150 color images and offers an aesthetic perspective on New York's community murals in a lively and perceptive history.

Janet Braun-Reinitz, a painter and community muralist, is the president of Artmakers Inc. and coauthor, with Rochelle Shicoff, of "The Mural Book: A Practical Guide for Educators." Jane Weissman, a writer and public relations professional, has been a participating artist and project director of several Artmakers murals. Amy Goodman is the host and executive producer of Pacifica Radio's "Democracy Now " Denis Moynihan is outreach director of "Democracy Now " Timothy W. Drescher is an independent mural historian and photographer and the author of "San Francisco Bay Area Murals: Communities Create Their Muses, 1904-1997."

Should politically concerned and engaged artistic production disregard questions or/and requirements of aesthetic reception and value? Whether art should be "aesthetic" or "political" is not a new question. Therefore, in spite of those several contemporary approaches of this issue, the answer is not set in stone and the debate is still going on. This volume aims to broaden these debates and it stems from numerous conversations with politically engaged artists and artist collectives on issues related to the "aesthetitzation of politics" versus the "politicization of art," as well as the phenomenon of the so-called "unhealthy aestheticism" in political art. Thus, this study has three interrelated aims: Firstly, it aims to offer an interdisciplinary account of the relationship between art and politics and between aesthetics and the political. Secondly, it attempts to explore what exactly makes artistic production a strong - yet neglected - field of political critique when democratic political agency, history from below and identity politics are threatened. Finally, to illuminate the relationship between critical political theory, on the one hand, and the philosophy of art, on the other by highlighting artworks' moral, political and epistemic abilities to reveal, criticize, problematize and intervene politically in our political reality.