A photo-illustrated record of Chilean protest art, along with reflections on artistic antecedents, global protest movements, and the long shadow cast by Chile's authoritarian past. From October 2019 until the COVID-19 lockdown in March 2020, Chile was convulsed by protests and political upheaval, as what began as civil disobedience transformed into a vast resistance movement. Throughout, the most striking aspects of the protests were the murals, graffiti, and other political graphics that became ubiquitous in Chilean cities. Authors Terri Gordon-Zolov and Eric Zolov were in Santiago to witness and document the protests from their very beginning. The book is beautifully illustrated with over 150 photographs taken throughout the protests. Additional photos will be available on the publisher's website. From the introduction: In the conclusion, we take stock of the crisis of the nation-state in the contemporary era. This chapter brings events into the present moment, noting the ways President Pinera took advantage of the COVID-19 pandemic to reclaim the streets of Santiago, a phenomenon echoed in countries across the globe. While most of the global protest movements were forced to go underground (or into the ether), the Black Lives Matter movement surged in the United States and drew massive amounts of support both domestically and abroad, suggesting a continued wave of grassroots protests. We close with reflections on the continued relevance of walls in a virtual world, the testimonial role that protest graphics play, and the future outlook for revolutionary movements in Chile and worldwide.

A photo-illustrated record of Chilean protest art, along with reflections on artistic antecedents, global protest movements, and the long shadow cast by Chile's authoritarian past. From October 2019 until the COVID-19 lockdown in March 2020, Chile was convulsed by protests and political upheaval, as what began as civil disobedience transformed into a vast resistance movement. Throughout, the most striking aspects of the protests were the murals, graffiti, and other political graphics that became ubiquitous in Chilean cities. Authors Terri Gordon-Zolov and Eric Zolov were in Santiago to witness and document the protests from their very beginning. The book is beautifully illustrated with over 150 photographs taken throughout the protests. Additional photos will be available on the publisher's website. From the introduction: In the conclusion, we take stock of the crisis of the nation-state in the contemporary era. This chapter brings events into the present moment, noting the ways President Pinera took advantage of the COVID-19 pandemic to reclaim the streets of Santiago, a phenomenon echoed in countries across the globe. While most of the global protest movements were forced to go underground (or into the ether), the Black Lives Matter movement surged in the United States and drew massive amounts of support both domestically and abroad, suggesting a continued wave of grassroots protests. We close with reflections on the continued relevance of walls in a virtual world, the testimonial role that protest graphics play, and the future outlook for revolutionary movements in Chile and worldwide.

A recognition of graffiti and street art by women from around the world. This book brings together the personal experiences, dreams, purposes, cultural tastes, struggles and samples of the work of more than 50 female graffiti artists, street artists and female muralists dedicated to reclaiming the public space and enriching our urban environments. This thoroughly illustrated book will inspire the reader to seek out street art in our cities, pointing towards a fairer world in terms of female equality within street art and graffiti. The book shows how these women fight to break free of the inequalities that linger in our society today and continue to affect women's status in many sectors, including art. PARTICIPANTS. Argentina: Agus Rucula, Hola Pum Pum, K2man, Milu Correch. Australia: Danielle Weber, Vexta. Belarus: Julia Yu Baba. Brazil: Magrela. Canada: Emily Read, Priscilla Yu. Chile: Anis88. Colombia: Ledania, Mugre Diamante. Equador: Mo Vasquez. France: Claire Prouvost, Emyart, Mademoiselle Kat, Wuna (+Canada), Zabou (+UK), Zoia. Finland: Camilla Siren, Anetta Lukjanova (+Spain). Germany: Minas. Italy: Alice Pasquini, Rame13, Vera Bugatti. Mexico: Lourdes Villagomez, Paola Delfin, Tahnee Flor, Triana Parera, Adry del Rocio, Alina Kiliwa, Alegria del Prado (+Spain:). Norway: Missprinted. Peru: Niz (+USA). Poland: Natalia Rak, Nespoon. Portugal: Tamara Alves. Spain: Btoy, Didi Leona, Elisa Capdevila, Julieta xlf, Lily Brik. The Netherlands: JDL. UK: Helen Bur, Rosie Woods (+Australia). USA: Emily Eldridge (+Germany), Kaz Williams/KAZILLA (Miami, FL), Kee Romano, Nico Cathcart (Richmond, VA), Toofly (+Equador). Venezuela: Sandra Betancort. AUTHOR: Diego Lopez has a degree in Documentation from the University of Valencia. He later furthered his training in the documentation centers of the Valencia Museum of Fine Arts and the newspaper Las Provincias. He has also contri-buted to such publications as Cultivar Salud and Hello Valencia and is a blogger on social networks with thousands of followers. Passionate about graffiti and street art, he is dedicated to delving into this fascinating world within cities and collecting photos of the works and pieces created on the street and meeting their creators. He has published a book on regional Spanish street art. SELLING POINTS: . The book honours the contribution to graffiti and street art by women around the world . More than 50 female graffiti artists, urban artists and muralists who contribute to creating an open-air art museum

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.

Despite playing canvas to a long list of talented writers, the IND (Independent) and BMT (Brooklyn Manhattan Transit) lines have been underrepresented in graffiti history. This is now rectified with a collection of high-quality images from the 1970s and 80s that capture works by heavyweights from the BMT like Lee, Mono, Iz The Wiz, Baby168, OE3, P13, and many others. From Coney Island to Queensboro Plaza and everywhere in between, these nostalgic images capture elevated subway scenes, stations, and subway yards and offer a glimpse through time at Brooklyn and Queens in the height of the NYC subway graffiti era. This truly amazing lineup also features early writers on the IND lines like Pistol, Piper, A'train, and IN, in addition to obscure names and throw-ups from these undocumented corridors. This is an ideal volume of subway art for graffiti artists, fans, historians, and students looking for rare photos on the letter lines.

A rare look into the world of contemporary graffiti culture On the sides of buildings, on bridges, billboards, mailboxes, and street signs, and especially in the subway and train tunnels, graffiti covers much of New York City. Love it or hate it, graffiti, from the humble tag to the intricate piece (short for masterpiece), is an undeniable part of the cityscape. In Graffiti Lives, Gregory J. Snyder offers a fascinating and rare look into this world of contemporary graffiti culture. A world in which kids, often, shoplift for spray paint, scale impossibly high places to find a great spot to "get up," run from the police, journey into underground train tunnels, fight over turf, and spend countless hours perfecting their style. Over the ten years Snyder studied this culture he even created a few works himself (under the moniker "GWIZ"), found himself serving as a lookout for other artists engaged in this illegal activity, spent time in the train tunnels in search of new work, created a blackbook for writers to tag, and took countless photographs to document this world - over sixty included in the book. A combination of amazing "flicks" and exhilarating prose, Graffiti Lives is ultimately an exploration into how graffiti writers define themselves. Snyder details that writers are not bound together by appearance or language or birthplace or class but by what they do. And what they do is reach for fame, painting their names as prominently as they can. What's more, he discovers that, though many public officials think graffiti writing will only lead to other criminal activity, many graffiti writers have turned their youthful exploits into adult careers-from professional aerosol muralists and fine artists to designers of all kinds, employed in such fields as tattooing, studio art, magazine production, fashion, and guerilla marketing. In fact, some of the artists featured have gone on to international acclaim and to their own gallery shows. Snyder's illuminating work shows that getting up tags, throw-ups, and pieces on New York City's walls and subway tunnels can lead to getting out into the city's competitive professional world. Graffiti Lives details the exciting, risky, and surprisingly rewarding pursuits of contemporary graffiti writers.

New York is a street art Mecca, boasting a vast outdoor gallery which encompasses walls, fences, sidewalks and just about any other available surface. Featured in this dynamic collection are approximately 200 images of works by artists such as New Yorkers Swoon, Judith Supine, Dan Witz, Skewville, WK Interact, L.A.'s Shepard Fairey, Brazil's Os Gemeos, Denmark's Armsrock, France's Space Invader, C215, Mr. Brainwash, Germany's Herakut, London's Nick Walker and the infamous Banksy. This book offers a compelling portrait of the development of urban art in the noughties in one of its most important and supportive communities.

In 1984, photographers Martha Cooper and Henry Chalfant captured the imagination of a generation with Subway Art, a groundbreaking book documenting the work of graffiti writers who illegally painted subway cars in New York City. The 2009 edition of the book is now available in a new, slightly reduced format. Henry Chalfant's images of the trains retain their impact, while Martha Cooper's narrative pictures tell the story. In the introductions, the authors recall how they gained entry to the New York graffiti community in the 1970s and 1980s and describe the techniques that they used to photograph it. Afterwords report how the lives of the original subway artists have unfolded, and chronicle the end of the subway graffiti scene in the late 1980s and its unexpected rebirth as a global art movement. This is an essential book for all fans of graffiti, stunning photography and 1980s-cool.

Public art is a form of communication that enables spaces for encounters across difference. These encounters may be routine, repeated, or rare, but all take place in urban spaces infused with emotion, creativity, and experimentation. In Painting Publics, Caitlin Bruce explores how various legal graffiti scenes across the United States, Mexico, and Europe provide diverse ways for artists to navigate their changing relationships with publics, institutions, and commercial entities. Painting Publics draws on a combination of interviews with more than 100 graffiti writers as well as participant observation, and uses critical and rhetorical theory to argue that graffiti should be seen as more than counter-cultural resistance. Bruce claims it offers resources for imagining a more democratic city, one that builds and grows from personal relations, abandoned or under-used spaces, commercial sponsorship, and tacit community resources. In the case of Mexico, Germany, and France, there is even some state support for the production and maintenance of civic education through visual culture. In her examination of graffiti culture and its spaces of inscription, Bruce allows us to see moments where practitioners actively reckon with possibility.

Within the pages of this book you will see how cement structures, intended for barriers, are transformed into pictorial walls that identify military units and honor service members who gave their lives for freedom in the Gulf War. They provide an esprit de corps for their unit members who are forward deployed from their home base, post, or camp. The unit colors and insignias displayed on these walls become the thoughts and memories of the men and women who have fought, and for those who have died for freedom. Memorial walls proclaim in silence the ultimate sacrifice of service. This artwork represents Coalition Soldiers, Sailors, Airmen, Marines, Coast Guard, and D.O.D. Civilians who answered the call of freedom and deployed far from home and family. When these walls decay and are turned to rubble, this book will become a lasting legacy to those who have served in Kuwait and Iraq.

This concise and accessible survey, the latest title in Thames & Hudson's renowned World of Art series, is set to become the definitive popular guide to graffiti and street art. The traditional letter-based graffiti that appeared on the streets of Philadelphia and New York over forty years ago launched a global art movement that has evolved into two distinct disciplines. While both thrive illegally and challenge the concept of public space, the new wave of street art puts greater emphasis on figures, abstraction, symbols and formal techniques. This book explains the terms and language of graffiti and street art - from tags and throwies to culture jamming and subvertising - as well as their multiple influences and sub-genres. Organized thematically, it traces the origins and evolution of graffiti and street art, and explores the motivations and practices of the leading exponents; the relationship between these art forms and the urban environment; their interactions with (or rejection of) the market and the world of commercial galleries; and their increasingly important role in visual culture as a whole.

This book is the most extensive contribution to our understanding of the graffiti subculture to date. Using insights from ethnographic research conducted in London and New York, this book explores the varying ways young men use graffiti to construct masculinity, claim power, and establish independence from the institutions which define, and often limit, them as young people. Forging a link between subcultural practice and identity construction, this book will be essential reading for anyone interested in new understandings of youth and their subcultures.

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.

A place for representation, self-presentation and communication, resistance and protest - this lavishly illustrated volume investigates the multi-layered significance of the street in the art of the twentieth and twenty-first century as an interface for diverse walks of life and groups through international positions in painting, graphics, photography, film, performance and installation. Around 1900, the street moved into the focus of artists in the wake of industrialisation and urbanisation as an elemental component of life. Starting with the Futurists and the Expressionists, who made the street a symbol for modern life full of promises and conflicts, the subject runs like a thread through art: as a social psychogram; as the expression of collective and individual longings and fears; within the context of happenings or graffiti; and currently also redefined within the framework of ecology, sustainability and democratic movements.

Graffiti writing was born in the streets of Philadelphia in the late 1960s. But it was in New York in the early 1970s that it became a full-fledged urban art, gradually taking over the landscape of the city, from its walls to its subway cars. In these years when this art form was emerging, graffiti pioneers laid its foundations through the constant game they played with the twenty-six letters of the alphabet, which they distorted and highlighted in the tags that they painted on walls. In the first section of this book, Woshe recounts the incredible story of the birth of this culture. He then offers us a detailed examination of the twenty-six letters of the alphabet, their structure and the ways in which graffiti writers have made them evolve. This study is enriched with a wealth of illustrations and examples of the customizations that artists add to their letters. At the end of the volume, ten of the international scene's most talented graffiti creators answer Woshe's questions about matters that include their practice, their relationship with letters and their backgrounds. Interviews to: BATES (Copenhague, Denmark); DARCO (Paris, France); DEMS (Elche, Spain); GESER (Connecticut USA); JURNE (Oakland, CA, USA); LOKISS (Paris, France); SERCH (Zwolle, The Netherlands); SWET (Copenhague, Denmark); SYE (New Yor, NY, USA); ZOER (Grasse, France). This is a writing manual, an inspiring collection of ideas and a beautiful book on the world of graffiti, but above all it is a declaration of love for this culture that mixes urban performance and mastery of letters. It includes a map of New York with the sites where the most important graffiti are located.

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.