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.

Jump on a wild ride across the cosmos in Marvel's Guardians of the Galaxy, a story-driven action-adventure with a fresh take on everyone's favorite ragtag group of legendary heroes. When the Guardians accidentally set off a chain reaction of catastrophic events, Star-Lord must live up to his skills, resolve, and swagger to hold this combustible band of misfits together. With half the galaxy after them and some of the most powerful entities in the universe on the loose, what could go wrong? Embark on the epic journey behind the scenes of Marvel's Guardians of the Galaxy in this beautiful hardback book. Accompanied by fascinating insights from the talented artists and developers behind the game, Marvel's Guardians of the Galaxy: The Art of the Game features exclusive concept artwork and final designs of the characters, costumes, gear, ships, creatures, planets, and environments that make up its vast universe.

This critically acclaimed collection of very short stories about postwar Buffalo, New York - illustrated in colour with the author's own collages - is now available in paperback. It all began in Buffalo between World War II and the Korean Conflict, as it was called, when the guys would meet up late at night in a diner for their brand of fellowship. They were mostly high school graduates in their late teens and early twenties, the sons of immigrant families. It didn't matter; there was little trace of that showing. They didn't look or act alike, but they had a sense of who they were, sort of proud for some reason, without much to show for it. From the introduction, at the centre of the group was Arnie. He might have been selling real estate for the time being, but he always had his eye on the next thing - Christmas tree farming, perhaps, or uranium mining. Then there were Moe, who had a gas station and garage, and Barney, who drove a truck for Pop's Pies. Observing it all was an art student working odd jobs to afford his paints and brushes - Phil. In 110 vignettes about Arnie and the guys, Philip Sultz presents a fictionalised portrait of the working-class Buffalo of his youth. He also vividly sketches the downtown Manhattan of those days, where his protagonists are drawn to study and to work. These stories - by turns funny and poignant, perfectly told and full of telling details - evoke not only the life of two cities, but the atmosphere of postwar America. Even in shadow of McCarthyism and the atom bomb, it was a time emblematic of possibility and change. Lake Effect Days is illustrated with colour reproductions of Sultz's critically acclaimed collages, which echo the text in their formal perfection and add new layers of allusion.

Cut it, stick it, twist it! Collage is the art of reinvention, a magical and tactile process that invites you to collect, experiment, combine and transform. Requiring no specialist equipment - only everyday materials - it is an art form for everyone and every budget. From striking architectural builds to mixed-media menageries, this book offers fresh ideas and guidance to help you cut and paste your way to your own unique artworks.

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.

Over the course of its 25-year history, Magic: The Gathering the world's first and most popular trading card game has redefined the fantasy genre through its exploration of diverse, fantastic worlds. And traversing those worlds are Planeswalkers, heroes who have sworn to defend the Multiverse from harm. Magic: The Gathering: Rise of the Gatewatch is a visual history and celebration of Magic's first team of Planeswalkers Jace Beleren, Ajani Goldmane, Gideon Jura, Chandra Nalaar, Nissa Revane, Liliana Vess, and Teferi. The Gatewatch's character histories, from their origins through their final confrontation with Nicol Bolas, are presented here via the very best card, packaging, and convention-exclusive artwork, all of it reproduced together here for the first time, some seen for the first time outside of the card frame. Rise of the Gatewatch is a giftable visual reference guide sure to appeal to new and longtime Magic fans alike.

In his latest book, Michael Betancourt explores the nature and role of typography in motion graphics as a way to consider its distinction from static design using the concept of the 'reading-image' to model the ways that motion typography dramatizes the process of reading and audience recognition of language on-screen. Using both classic and contemporary title sequences-including The Man With the Golden Arm (1955), Alien (1979), Flubber (1998), Six Feet Under (2001), The Number 23 (2007) and Scott Pilgrim vs. The World (2010)-Betancourt develops an argument about what distinguishes motion graphics from graphic design. Moving beyond title sequences, Betancourt also analyzes moving or kinetic typography in logo designs, commercials, film trailers, and information graphics, offering a striking theoretical model for understanding typography in media.

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.

A wonderful pairing with the Metamorphosis journal or a beautiful stand-alone gift, this notecard set includes 16 cards featuring 8 original compositions (with over 15 moths and butterflies), colored envelopes, and a gorgeous keepsake box. The backs of the cards list the common and scientific names of each butterfly and moth as well as the organic materials used to create each piece.

Making Images Move reveals a new history of cinema by uncovering its connections to other media and art forms. In this richly illustrated volume, Gregory Zinman explores how moving-image artists who worked in experimental film pushed the medium toward abstraction through a number of unconventional filmmaking practices, including painting and scratching directly on the film strip; deteriorating film with water, dirt, and bleach; and applying materials such as paper and glue. This book provides a comprehensive history of this tradition of "handmade cinema" from the early twentieth century to the present, opening up new conversations about the production, meaning, and significance of the moving image. From painted film to kinetic art, and from psychedelic light shows to video synthesis, Gregory Zinman recovers the range of forms, tools, and intentions that make up cinema's shadow history, deepening awareness of the intersection of art and media in the twentieth century, and anticipating what is to come.

Distinctly unique, Tel Avivs street art represents a wide spectrum of cultural backgrounds and aesthetic sensibilities. Echoing the uncertainty that permeates Israels daily existence, it possesses a rawness and energy found in few modern cities. Through more than 250 images, 14 artist profiles, and comprehensive research, Street Art Tel Aviv introduces the reader to an alternative visual culture that has developed and thrived at a time when the citys building exteriors are plentiful, and living and workspaces are still available to emerging artists. At the turn of the 21st century, Tel Avivs gritty streets, particularly those in southern industrial neighbourhoods, began to host a motley array of spectral faces, uncanny figures and curious characters. Random graffiti, from scrawls on the walls to stylized letters, made their way into largely vacant spaces. Artistic renderings of band-aids, hearts and eggplants evolved into iconic city images. Poetic expressions and musings from the personal to the collective surfaced increasingly on Tel Avivs flat facades. And while much of what is painted directly onto the walls avoids commenting on the citys precarious political state, the stencils that continue to surface often stealthily in the dark alert us to the citys seemingly irresolvable, ever-present external and internal conflicts. Street Art Tel Aviv also gives entry into Tel Avivs Central Bus Station, Israels largest indoor urban art gallery. Showcasing murals in a diverse range of styles, painted directly onto its walls by local, national and international artists since 2013, it is a favourite site for street art and contemporary art enthusiasts. Herewith the opportunity to explore this vibrant citys visual landscape at a time of transition for both the city itself and for this new visual art genre.

If You Can Cut, You Can Collage is specially designed for people who feel like they can't make art. Want to know a secret? You can! You just need a little inspiration, instruction, and confidence. Collage is a wonderful creative outlet, particularly for people who want to make art, but don't feel they have the skills or confidence for other endeavors. You can still explore and experiment with color, composition, and various themes and end up with exciting and often unexpected results. If you Can Cut, You Can Collage takes some of the mystery out of collage through easy illustrated pages that show you the basic techniques of collecting and cutting imagery, composing and adhering compositions, and then provides a wealth of exercises that get readers going on their own creative projects. We'll get you started with simple, focused, projects like making a collage with only circles, where you'll learn important concepts like how to create a focal point, how to use repetition successfully, how to achieve contrast, balance, symmetry, and more. You'll be incorporating vintage ephemera, typography and lettering, and even urban and found materials in no time!

Critical facsimile edition making crucial modernist texts available for the first time since 1931 Restores a rare but highly influential modernist anthology to print in a new critical facsimile edition Provides extensive scholarly commentary, analyses, and newly discovered biographical information, setting the anthology in its broader cultural context Offers the first collection of avant-garde writing designed to be read on a 'reading machine' invented by the American expatriate poet Bob Brown Includes both Craig Saper's new Introduction and a separate chapter on the Contributors and their readies. Saper is the leading scholar of Bob Brown's work as well as an important scholar of experimental writing, media, publishing, and art This new edition of Bob Brown's groundbreaking collection of modernist writing experiments has been out of print since 1931, when Brown's Roving Eye Press originally published it. Only a few copies exist in archives today. The contributors include major modernist writers such as Gertrude Stein, William Carlos Williams, F. T. Marinetti, Eugene Jolas and Ezra Pound, key social realists like Kay Boyle and James T. Farrell and daring queer novelists and artists including Charles Henri Ford and Sidney Hunt. Providing extensive scholarly commentary, analyses and newly discovered biographical information, this book sets the anthology in its broader cultural context. This is an essential resource for those interested in print and book history, the politics and culture of the expatriate avant-garde and the reading machine's impact on reading, writing and literacy.

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 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.

"STRAAT Museum allows a wide audience to discover and understand the DNA of graffiti and street art, through an in-depth and unique contextualization perfectly fulfilled in Quote from the streets, its opening exhibition which is reproduced in this catalogue." - Christian Omodeo This catalogue for the new international graffiti and street art museum in Amsterdam, STRAAT, features work created on-site by the greatest artists of today's street art scene. STRAAT - Quote from the Streets tells the story of street art as a full-fledged art movement and explores the evolution of 'art in the street', in addition to the development of the new museum. The catalogue is above all a feast for the eyes, with many full-page images of the best street art talent from around the world.