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.

The first in a series, Susan Hyndman's The Dunes is a collection of original artwork inspired by imagination that unfold to reveal unexpected visions. Each design reaches out and demands attention, leaping off of the page. It is impossible to look away. The images are accompanied by prose that opens up the reader's soul. There is both a lyric quality and a witty, charming rhetoric that will make you smile. Each reader is assured a fun ride through what is a swift read full of surprises. Wonderful

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.

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.

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.

From the twisted mind of L. Rogers comes an art book featuring 32 mediocre, run-of-the-mill, average-looking pictures of the same rock. Many of the photographs include ironic shadows. In a reference to the modern era of art, the pictures have essentially no variety, with many of the photographs shot close-up, at similar angles, and with the same type of disappointing backgrounds (clothing, a table, random surfaces) that nonchalantly fade into the book's unassuming pages. Speaking with his iconic artist's humor, L. Rogers once said that this book is the perfect Singles' Awareness gift that a singleton can give to him or herself. This version of the book is printed entirely in black and white, to signify the paradigm of staticity that permeates all of our lives.

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.

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."

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.

Essay from the year 2010 in the subject Art - Photography and Film, grade: -, University of Westminster, language: English, abstract: Photography has played various roles in the African American Post-War Civil Rights Movement. Besides its extraordinary coverage of the contemporary Jazz scene and the historical documentation of the segregated South (Kasher, 1996), it had in particular a remarkable political function. Photography and television have given the Civil Rights fighters a voice which could not be ignored in Post-War America; by showing the struggle in all its unjust cruelty they confronted the national and international community with the shocking reality. People got motivated to express their sympathy for the demonstrators and the number of Movement supporters grew rapidly. Thereby, the most significant stream of followers arose only after the news media had shown images of unexpected outrage, making the relationship obvious (Streitmatter, 2008). In general, media do not only have a significant impact on public opinion but also contribute greatly to the success of humanitarian organisations. Often their influence even exceeds the possibilities available to politicians. This arises from the news media being the only source of information consumers get about developments further afield, making the success of civil rights movements highly dependent on their image given by press and television (International Council on Human Rights Policy, 2002). As one of these movements, the struggle for desegregation in America is the most thoroughly documented social conflict to date (Kasher, 1996). The tabloid Life, which can be seen as the national newspaper at the time (Shepherd, 1997), was reaching even more people than the new medium of television. For this reason, the magazine's understanding of the events, which was expressed by its presentation of images of the iconography of war - uniformed troopers, weaponed assaults, the wounded, state funerals - was spread w

Men and women 150 years ago grappled with information overload by making scrapbooks-the ancestors of Google and blogging. From Abraham Lincoln to Susan B. Anthony, African American janitors to farmwomen, abolitionists to Confederates, people cut out and pasted down their reading. Writing withScissors opens a new window into the feelings and thoughts of ordinary and extraordinary Americans. Like us, nineteenth-century readers spoke back to the media, and treasured what mattered to them.
In this groundbreaking book, Ellen Gruber Garvey reveals a previously unexplored layer of American popular culture, where the proliferating cheap press touched the lives of activists and mourning parents, and all who yearned for a place in history. Scrapbook makers documented their feelings about momentous public events such as living through the Civil War, mediated through the newspapers. African Americans and women's rights activists collected, concentrated, and critiqued accounts from a press that they did not control to create "unwritten histories" in books they wrote with scissors. Whether scrapbook makers pasted their clippings into blank books, sermon collections, or the pre-gummed scrapbook that Mark Twain invented, they claimed ownership of their reading. They created their own democratic archives.
Writing with Scissors argues that people have long had a strong personal relationship to media. Like newspaper editors who enthusiastically "scissorized" and reprinted attractive items from other newspapers, scrapbook makers passed their reading along to family and community. This book explains how their scrapbooks underlie our present-day ways of thinking about information, news, and what we do with it.

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.

In 2009 I took a 2001calendar that I had bought and had been saving. It was printed in Italy on linen paper. The full color illustrations were of Japanese woodcuts created in the 1800's. I also had coffee table books I had been collecting that were full of old black and white photographs from the early 1900's. I searched through the books of photographs cutting out selected photographs and pasted them into the woodcut illustrations. I found images of buildings to include in each. In the end I saw them as snapshots people took as souvenirs, or memoirs, of their adventures. I titled each to covey this notion. Then I created a story to go with each image. I started with January, and the story grew one month at a time. I hope you enjoy my little fantasy that I have constructed with paper, paste, scissors and words.

"Painting Recipes Books "are designed for mid-level art students and amateur painters who are looking to perfect their style by trying new interpretive forms and experimenting with sophisticated techniques they have never tried before. This new series takes its inspiration from cooking recipe books. Like imaginative chefs creating new recipes, artists are encouraged to try out and mix different substances to obtain new effects on canvas or paper. This "Painting Recipes Book" focuses on dealing with textures in painting and presents exercises and explanations, supplemented with how-to illustrations. It also discusses the uses of various materials that aren't traditionally thought of as standard in an artist's tool box. Color illustrations on every page.

If you are thinking about getting a tattoo this book is a must have. Written by someone with over thirty years experience in the tattoo industry who has been in countless tattoo studios all over the world.Packed with many hints, tips and sound advice it covers every possible question the first timer may have helping them to make the right choice of design, the right choice of tattooist, how to avoid major mistakes, what to say and do at consultation, even what to wear, it goes into aftercare in great detail and explains everything in a clear concise unbiased manner, this book will be the first timers guide for years to come.

Doctoral Thesis / Dissertation from the year 2008 in the subject Art - Photography and Film, grade: cum laude, University of Edinburgh, language: English, abstract: Photomontage has more to do with film than with any other art form - they have in common the technique of montage. (Sergei Tretyakov) By considering that photomontage and film use the technique of cutting and gluing as dominant artistic device, and that montage, a technique unifying art and technology for the first time, emerged as a dominant artistic feature of the avant-garde, this thesis will explore the ideological and perceptual implications of its advent in avant-garde art and film. The technological advances of the beginning of the twentieth century, and particularly the advent of photography, allowed avant-garde artists to break free from traditional concepts of artistic production - they dispensed with the old criteria of uniqueness, originality, handicraft and personal style. At a time when many avant-garde artists abruptly ceased to paint, photomontage emerged as the privileged locus for a caesura with traditional art forms. Photomontage envisioned film aesthetics insofar as it combines and juxtaposes images of various perspectival planes and angles (Raoul Hausmann described his early photomontages as "motionless moving pictures"). A corresponding observation can be made on the use of montage in cinema, a technique which crucially underpins the illusion of movement created through the succession of photographic stills. The present thesis will investigate photomontage and film in order to examine the effect technological reproduction played in revolutionising artistic production, perception and ideology - where the technique and philosophy of montage was key.