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.

Rachel Owen's hauntingly beautiful illustrations for Dante's Inferno take a radically new approach to representing the world of Dante's famous poem. The images combine the artist's deep cultural and historical understanding of 'The Divine Comedy' and its artistic legacy with her unique talent for collage and printmaking. These illustrations, casting the viewer as a first-person pilgrim through the underworld, prompt us to rethink Dante's poem through their novel perspective and visual language. Owen's work, held in the Bodleian Library and published here for the first time, illustrates the complete cycle of thirty-four cantos of the Inferno with one image per canto. The illustrations are accompanied by essays contextualising Owen's work and supplemented by six illustrations intended for the unfinished Purgatorio series. Fiona Whitehouse provides details of the techniques employed by the artist, Peter Hainsworth situates Owen's work in the field of modern Dante illustration and David Bowe offers a commentary on the illustrations as gateways to Dante's poem. Jamie McKendrick and Bernard O'Donoghue's translations of episodes from the 'Inferno' provide complementary artistic interpretations of Dante's poem, while reflections from colleagues and friends commemorate Owen's life and work as an artist, scholar and teacher. This stunning collection is an important contribution to both Dante scholarship and illustration.

This pivot analyzes the historical emergence of legal graffiti and how it has led to a new ethos among writers. Examining how contemporary graffiti writing has been brought into new relationships with major social institutions, it explores the contemporary dynamics between graffiti, society, the art world and social media, paying particular attention to how New York City's political elite has reacted to graffiti. Despite its major structural transformation, officials in New York continue to construe graffiti writing culture as a monolithic, criminal enterprise, a harbinger of economic and civic collapse. This basic paradox - persistent state opposition to legal forms of graffiti that continue to gain social acceptance - is found in many other major cities throughout the globe, especially those that have embraced neoliberal forms of governance. The author accounts for the cultural conflicts that graffiti consistently engenders by theorizing the political and economic advantages that elites secure by endorsing strong 'anti-graffiti' positions.

Make your Mark is divided into three: 'Draw', 'Paint', 'Make'. It celebrates and discusses the work of forty-five urban artists, extraordinarily diverse but united by one basic principle: their work is completely fresh, original and the epitome of creativity - the perfect antidote to the jaded imagery that fills our streets and our media. The names - 44 Flavours from Germany, Bault from France, Morcky from Italy, Ricardo Cavolo from Spain, Zio Ziegler from the USA, Fuco Ueda from Japan, Raymond Lemstra from the Netherlands, Joao Ruas from Brazil and many others - will be unfamiliar to most; the talent they display, indisputable, courageous, always distinctive, is a joy.

Eric Carle's life and work are explored in this comprehensive and updated portrait that includes: A brand-new and refreshed cover More than sixty full-colour illustrations from his books Full-colour art pieces showcasing his art style beyond his book work (New to this edition!) A moving autobiographical account of his life (updated for this edition) An insightful speech by Eric Carle originally given at the Children's Literature Center in the Library of Congress A photographic essay on how he creates his collages A full-colour illustrated bibliography of all of his books Anecdotal reflections by Ann Beneduce, his longtime friend and editor of The Very Hungry Caterpillar Essays on the power of his art by his German publisher, Dr. Viktor Christen, and Takeshi Matsumoto, curator at the Chihiro Iwasaki Museum in Tokyo. New for this edition, essays by Nicholas B. Clark, chief curator and founding director of The Eric Carle Museum of Picture Book Art, and Alexandra Kennedy, executive director of The Carle.

Starting with James Abbott McNeill Whistler and ending with Matthew Barney, nearly every prominent figure in Modern art is represented in vibrant double-page spreads that show how these artists redefined norms and challenged tradition. Fascinating biographical and anecdotal information about each artist is provided alongside large reproductions of their most celebrated works, stunning details, and images of the artists themselves. From the Impressionists to the Surrealists, Cubists to Pop artists-readers will find a wealth of information as well as hours of enjoyment learning about one of the most popular and prolific periods in art history.

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.

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.

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.

Despite its consistent presence in architectural practice throughout the 20th and 21st centuries, collage has never been considered a standard form of architectural representation like drafting, model making, or sketching. The work of Marshall Brown, an architect and artist, demonstrates the power of collage as an architectural medium. In Brown's view, collage changes the terms of architectural authorship and challenges outdated definitions of originality. Published in conjunction with the exhibition The Architecture of Collage: Marshall Brown at the Santa Barbara Museum of Art, the book features some forty collages by Marshall Brown. These works come from four of his collage series, including Chimera, Je est un autre, as well as the previously unpublished Prisons of Invention and Piranesian Maps of Berlin. Additionally, there are photographs of Ziggurat, an outdoor sculpture with a design based on a collage from Chimera. The full-color plates are supplemented with essays by critic and curator Aaron Betsky, scholar of art history and archaeology Anna Arabindan-Kesson, Santa Barbara Museum of Art’s curator James Glisson, and Marshall Brown that outline the conceptual foundations of Brown's intriguing exploration of an intersection of architecture and art.

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.

Having forged his graphic style painting subways in New York in the late 1970s, Futura was among the first graffiti artists to be shown in contemporary galleries in the early 1980s, where his paintings shared space with works by Keith Haring, Jean-Michel Basquiat, and Kenny Scharf. As the commercialization of street culture in the 1990s inspired collaborations with fashion and lifestyle brands, Futura s work moved toward a more refined expression of his abstract graffiti style. Commissions from era-defining brands such as A Bathing Ape, Stussy, Supreme, and Mo Wax saw his artwork canonized as an elemental component of the street aesthetic. Collected here, among never-before-published reproductions of earlier paintings and drawings, is an archive of personal photography and ephemera that reveals how integral Futura has been to the evolution of street art and culture. Guided through more than forty years of work, and with interviews with key players in Futura s career, this is at once a definitive monograph of a legend of contemporary art and an indispensable chapter in the history of graffiti.