With its bold colours, flashy imagery and ironic spirit, Pop Art trespasses the traditional boundaries separating high from low culture. Flavia Frigeri introduces us to a movement that focuses on everyday objects, from its beginnings in the post-war consumerism of America and Britain to its fascinating rise on a global scale in the 1960s. The work of well-known artists, such as Andy Warhol, Roy Lichtenstein, Richard Hamilton and Peter Blake, is set in dialogue with that of Japanese Ushio Shinohara, Venezuelan Marisol and Argentinian Marta Minujin, among others. Organized around key themes common to all Pop Art, including advertising, politics, the domestic realm, consumer goods, art history, celebrity culture, war and the space race, this is an essential introduction to the movement that transformed the `popular' into art. A reference section includes a useful timeline, glossary of Pop terms and suggestions for further reading.

In Dismantling the Patriarchy, Bit by Bit, Judith K. Brodsky makes a ground-breaking intellectual leap by connecting feminist art theory with the rise of digital art. Technology has commonly been considered the domain of white men but-unrecognized until this book-female artists, including women artists of color, have been innovators in the digital art arena as early as the late 1960s when computers first became available outside of government and university laboratories. Brodsky, an important figure in the feminist art world, looks at various forms of visual art that are quickly becoming the dominant art of the 21st century, examining the work of artists in such media as video (from pioneers Joan Jonas and Adrian Piper to Hannah Black today), websites and social networking (from Vera Frenkel to Ann Hirsch), virtual and augmented reality art (Jenny Holzer to Hyphen-Lab), and art using artificial intelligence. She also documents the work of female-identifying, queer, transgender, and Black and brown artists including Legacy Russell and Micha Cardenas, who are not only innovators in digital art but also transforming technology itself under the impact of feminist theory. In this radical study, Brodsky argues that their work frees technology from its patriarchal context, illustrating the crucial need to transform all areas of our culture in order to achieve the goals of #MeToo, Black Lives Matter (BLM), and Black and Minority Ethnic (BAME) representation, to empower female-identifying and Black and brown people, and to document their contributions to human history.

This book uses intermedial theories to study collage and montage, tracing the transformation of visual collage into photomontage in the early avant-garde period. Magda Dragu distinguishes between the concepts of collage and montage, as defined across several media (fine arts, literature, music, film, photography), based on the type of artistic meaning they generate, rather than the mechanical procedures involved. The book applies theories of intermediality to collage and montage, which is crucial for understanding collage as a form of cultural production. Throughout, the author considers the political implications, as collages and montages were often used for propagandistic purposes. This book combines research methods used in several areas of inquiry: art history, literary criticism, analytical philosophy, musicology, and aesthetics.

This theoretically and empirically grounded book uses case studies of political graffiti in the post-socialist Balkans and Central Europe to explore the use of graffiti as a subversive political media. Despite the increasing global digitisation, graffiti remains widespread and popular, providing with a few words or images a vivid visual indication of cultural conditions, social dynamics and power structures in a society, and provoking a variety of reactions. Using qualitative and quantitative methods, as well as detailed interdisciplinary analyses of "patriotic," extreme-right, soccer-fan, nostalgic, and chauvinist graffiti and street art, it looks at why and by whom graffiti is used as political media and to/against whom it is directed. The book theorises discussions of political graffiti and street art to show different methodological approaches from four perspectives: context, author, the work itself, and audience. It will be of interest to the growing body of literature focussing on (sub)cultural studies in the contemporary Balkans, transitology, visual cultural studies, art theory, anthropology, sociology, and studies of radical politics.

This book is an exploratory adventure to defamiliarize calligraphy, especially Persian Nastaliq calligraphic letterforms, and to look beyond the tradition that has always considered calligraphy as pursuant to and subordinate to linguistic practices. Calligraphy can be considered a visual communicative system with different means of meaning-making or as a medium through which meaning is made and expression is conveyed via a complex grammar. This study looks at calligraphy as a systematic means in the field of visual communication, rather than as a one-dimensional and ad hoc means of providing visual beauty and aesthetic enjoyment. Revolving around different insights of multimodal social semiotics, the volume relies on the findings of a corpus study of Persian Nastaliq calligraphy. The research emphasizes the way in which letterforms, regardless of conventions in language, are applied as graphically meaningful forms that convey individual distinct meanings. This volume on Persian Nastaliq calligraphy will be inspirational to visual artists, designers, calligraphers, writers, linguists, and visual communicators. With an introduction to social semiotics, this work will be of interest to students and scholars interested in visual arts, media and communication, and semiotics.

One of many exhilarating artistic developments that took place during the early twentieth century, the fine art medium of collage emerged from the cubist gluing and pasting explorations of Georges Braque and Pablo Picasso. As a result of its experimental genesis, collage has continued to serve not only as a primary form of expression for many prominent artists, but as a principal means of evaluating and developing new creative strategies.
Conceived and written by renowned artist, author, and teacher Gerald Brommer, "Collage Techniques" first presents the medium within the context of a wide variety of materials, including washi (oriental and rice papers) and watermedia; stained, prepared, and found papers; photographs; and fabrics and fibers. Each category of material is examined through a step-by-step demonstration and works by artists who approach collage in original and refreshing ways. The latest trends in technologically enhanced collage, including such high-tech applications as multiple photocopying and digital scanning, are also discussed. The author then explores how the elements and principles of design are used in collage, and how they in turn are employed in all the major genre, including still life, landscape, the human figure, abstraction, and nonobjective imagery.
Beautifully illustrated with the work of more than eighty noted artists, including Edward Betts, Jae Carmichael, Margo Hoff, Katherine Chang Liu, and Fred Otnes, "Collage Techniques" is an essential reference for all artists and illustrators, regardless of their creative focus or choice of medium.

Eggshells, flowers, onion peels, sponge cake, dried bread, breast milk-these are just a few of the biological materials that some contemporary artists have used to make art. But how can works made from such perishable ingredients be preserved? And what ethical and conceptual dilemmas might be posed by doing so? Because they are prone to rapid decay, even complete disappearance, biological materials used in art pose a range of unique conservation challenges. This groundbreaking book probes the moral and practical challenges associated with displaying, collecting, and preserving these unique works of art. Theoretical considerations are complemented by a range of specific case studies, thereby affording a comprehensive and richly detailed overview of current thinking and practices on this topic. With contributions by conservators, scholars, curators, and artists, Living Matter is the first publication to address broadly these provocative issues, exploring the role of biological materials in the creative process and presenting a wide variety of possible approaches to their preservation. The free online edition of this publication is available at getty.edu /publications/living matter/ and includes videos and zoomable illustrations. Also available are free PDF, EPUB, and Kindle/MOBI downloads of the book.

If you were a graffiti writer in 1980s New York City, you wanted Martha Cooper to document your work-and she probably did. Cooper has spent decades immortalizing art that is often overlooked, and usually illegal. Her first book, 1984's Subway Art (a collaboration with Henry Chalfant), is affectionately referred to by graffiti artists as the "bible". To create Spray Nation, Cooper and editor Roger Gastman pored through hundreds of thousands of 35mm Kodachrome slides, painstakingly selecting and digitizing them. The photos range from obscure tags to portraits, action shots, walls, and painted subway cars. They are accompanied by heartfelt essays celebrating Cooper's drive, spirit, and singular vision. The images capture a gritty New York era that is gone forever. And although the original pieces (as well as many of their creators) have been lost, these powerful photos feel as immediate as a subway train thundering down the tracks.

The soldiers of the First World War left a little-known legacy in forgotten caves along the Western Front: thousands of inscriptions and wall carvings that tell stories of courage, pride, hope and fear. Limestone quarries and bunkers along the front lines in north-eastern France, where the men sheltered, have been rediscovered by archaeologists in recent years. Thousands of British and Commonwealth soldiers pencilled their name, rank and serial number and even their home addresses onto the walls in the agonising awareness that this might be their last trace. In the relative safety of crowded tunnels, they wrote poems and displayed astonishing artistry in the portraits and sculptures they carved into the rough rock. Whispering Walls takes the reader into the gloom of these timewarp locations under the Western Front where the graffiti, in many cases as clear as if it had been written yesterday, rings out with the question: will I survive? The book tracks the fates of individual soldiers and presents some of the most striking inscriptions in over 100 photographs. Now that the last survivors have gone, the writings provide fresh insight into their mindset and are helping researchers to trace the missing, over a century after the guns fell silent.

David Zinn's amazing street drawings are created using chalk, charcoal and found objects, and each extraordinary drawing is only ever temporary. This book preserves Zinn's art in all its colorful, hypnotic glory by collecting together never-before published images of his eye-popping creations. Created over the last two years on streets across the globe, these adorably zany and deceptively three-dimensional characters come to life on manhole covers and streetlamps, village squares and subway platforms. Zinn's most frequent characters are a bright green googly-eyed monster and a phlegmatic flying pig-but the diversity of his menagerie is limited only by the size of the sidewalk and the spirit of the day. In a brief introduction Zinn describes his creative process, explaining how he seeks out everyday imperfections to situate his art-such as sidewalk cracks and chips, tufts of weeds and sewer grates-and brief captions describe the provenance of each work. While these amazing drawings can no longer stop pedestrians in their tracks on the streets, they live on in book form to mesmerize and inspire readers of all ages.

The first book to focus exclusively on women as subjects in street art, this study, part travelogue and part dialogue, examines these depictions of women artistically, politically, and culturally across continents. Interviews with artists peel back the layers between artist and image, revealing stories about their work, its context, and its environment. From artists in LA pushing back on Hollywood's shiny perfection; to painters in Costa Rica examining the cultural links of women, myth, and nature; to women in South Africa decrying domestic violence, what links these works are their temporality and public ownership. Why do wall artists choose women as their frequent and favourite subjects? What does it say about our conceptions of gender and rebellion, protest, pride, place, and community? And how does the growing commercialisation of street art affect their portrayal? Colour photos and guided historical context provoke these questions and inspire further ones.

CAR MA is artist and musician Alison Mosshart's first printed collection of paintings, photographs, short stories, and poetry. It is a book about cars, rock n' roll, and love. It's a book about America, performance, and life on the road. It's a book about fender bender portraiture, story tellin' tire tracks, and the never- ending search for the spirit under the hood. Mosshart imagines the auto body shop like some other Coney Island. And America's highways- the last great roller coasters. Shows us that the engine on fire is connected to the guitar feeding back since birth. And the sensation of walking on stage and facing an audience is like the laugh before the scream in a car without brakes. She ruminates that automobiles- with their doors and mirrors and windows, engines and wheels and radios- portray us. Mirror our need to be in or to exit, our inward reflections and outward visions, our lifetimes of tinkering with the mysterious heart. That which runs until it doesn't. Throughout history the car has been a symbol of freedom and hopeful adventure. It stands to reason it is also a symbol of our subsequent spinning out... over things we never thought could happen during a song that fucking good with the volume up that fucking loud. If you've ever found yourself feeling holy, pulling out of the gas station with a full tank, like the last beautiful free soul on this planet- This book is for you. In fact it's probably about you.

One of the most hotly anticipated games from E3 2012, "Watch Dogs "received over 80 official nominations and awards including IGN's Best New Franchise Award, Gamespot's Editor's Choice Award and Eurogamer's Game of the Show Award.
"The Art of Watch Dogs" is an in-depth review of Ubisoft's amazing new game with extensive concept and development art and detailed creator commentary. The first of its kind for a franchise that is certain to be a future classic, the book will explore the technology-controlled world of "Watch Dogs," taking readers on a visual guide through Aiden Pearce's quest to turn Chicago's Central Operating System (CtOS) against its corrupt owners.

For 20 years, "Parkett presented unparalleled explorations and discussions of important international contemporary artists by esteemed writers and critics. These investigations continue in issue #70, which features collaborations by Swiss-American visual artist and composer Christian Marclay, Polish painter Wilhelm Sasnal, and British video artist and photographer Gillian Wearing. Each of these artists has carved out a unique manner of working with the mediums of sculpture, painting, and photography, respectively. As well, each artist extends the use of film and video to reflect political, social, or popular culture. Authors include Ingrid Schaffner, Philip Sherburne, and Philippe Vergne on Marclay; Meghan Dailey, Gregor Jansen, and Adam Szymczyk on Sasnal; and Gordon Burn and Dan Cameron on Gillian Wearing, with a conversation between Cay Sophie Rabinowitz and Wearing. Also in this issue: Greg Hilty on Rebecca Warren, Dominic van den Boogerd on Aernout Mik, Catherine Wood on Mark Leckey, Carolee Thea on Joan Jonas, and an insert by Nic Hess. To celebrate "Parkett's 20th Anniversary, this year's three issues (#70,71, 72) will feature special contributions by both artists and writers on the current state of materiality in contemporary art. Scholarly writers look back to how earlier generations of artists employed materials and how this differs from so many contemporary artists' material engagements today. Collaborating artists of the past two decades contribute anecdotes, drawings, and photographs commemorating their experiences with "Parkett. Best of all is the inclusion of an additional fourth collaborating artist who will participate in a discussion about his or her relationship tomateriality and will create a new "Parkett edition: with Franz West in issue #70, Pipilotti Rist in issue #71, and Alex Katz in issue #72. For "Parkett #71, the featured collaborating artists will be Swiss installation and video artist Olaf Breunning; British conceptualist Keith Tyson; and American painter Richard Phillips.

The most comprehensive monograph in print on this provocative artist, who has helped to redefine contemporary art This thorough, multifaceted assessment of Raymond Pettibon's entire career to date includes nearly 700 images, contributions from important figures in the art-historical and cultural fields, and a recent interview with the artist. Beginning with childhood drawings, the book moves through to his mature work, which embraces both high and low culture.

Colossus is the definitive showcase of epic European street art. From Berlin to Barcelona, Budapest to Lisbon it's a visual guide to both the astonishing and the epic. From figurative to abstract, geometric to photo-realistic, all of the major creative executions are covered in the expansive collection. This book is the culmination of years of obsessively keeping up with the explosion of the art form. Featuring QR codes for many of the major European cities, you too will be able to visit the artwork in person.

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.

In a contemporary and ever-changing society, 'the visual' has become a dynamic element that traverse all parts of current life all over the world - what in this book series is termed transvisuality. The present book is volume 3, which attempts to study the visual as it comes about: through the dynamic involvement in all sorts of articulations. The topics are in all volumes covered by introductions bring everything together under the new theme of transvisuality: the notion of visual as a cultural practice and constant dynamic that knows no representational limits and no framings. In this volume, the visual is seen as dynamic new and nonrepresentational matter - a 'flesh' which is researched from the particular vantage points of design of the visual and branding of the visual. In dialogue with radical new theories of the present, non-representational theory and new materialism, design and branding are surveyed from the viewpoint of business research, design studies, cultural studies, and practice - all focused on the visual. Topics covered are fashion blogging, DIY, Junk Space, handmade signage and public spaces in New Delhi, city branding, dance festivals and youtubing, visual branding in China and Multi-Sensory Retrieval Methods.

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.

Collage by Women presents 50 international women artists working in the field of collage today through a rigorous selection of their works. Curated by the Spanish collage artist Rebeka Elizegi, the book gives space to voices from all backgrounds, origins, and artistic expressions, and shows the wide variety of perspectives that are shaping the panorama of collage today, bringing to light a parallel effervescence of female artistic initiatives around the world. From emerging names to more well-known and established ones, the artists featured here are pushing back the boundaries of art. Collage by Women wants to call attention to the experiences and creative processes of artists that should be on our radar through an impressive selection of manual and digital techniques, topics and aesthetic choices, accompanied by texts that provide indepth approaches to the inspiration, influences and work trajectory of each artist. Born from the belief that women's voices are of the utmost relevance in all cultural and social fields, the book will surely contribute to a healthier, more comprehensive, more inclusive nderstanding of our reality.

William S. Burroughs Cutting Up the Century is the definitive book on Burroughs' overarching cut-up project and its relevance to the American twentieth century. Burroughs's Nova Trilogy (The Soft Machine, Nova Express, and The Ticket That Exploded) remains the best-known of his textual cut-up creations, but he committed more than a decade of his life to searching out multimedia for use in works of collage. By cutting up, folding in, and splicing together newspapers, magazines, letters, book reviews, classical literature, audio recordings, photographs, and films, Burroughs created an eclectic and wide-ranging countercultural archive. This collection includes previously unpublished work by Burroughs such as cut-ups of work written by his son, cut-ups of critical responses to his own work, collages on the Vietnam War and the Watergate scandal, excerpts from his dream journals, and some of the few diary entries that Burroughs wrote about his wife, Joan. William S. Burroughs Cutting Up the Century also features original essays, interviews, and discussions by established Burroughs scholars, respected artists, and people who encountered Burroughs. The essays consider Burroughs from a range of starting points-literary studies, media studies, popular culture, gender studies, post-colonialism, history, and geography. Ultimately, the collection situates Burroughs as a central artist and thinker of his time and considers his insights on political and social problems that have become even more dire in ours.