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.

Under the Skin investigates the role of cross-cultural body modification in seventeenth-century and eighteenth-century North America, revealing that the practices of tattooing and scalping were crucial to interactions between Natives and newcomers. These permanent and painful marks could act as signs of alliance or signs of conflict, producing a complex bodily archive of cross-cultural entanglement. Indigenous body modification practices were adopted and transformed by colonial powers, making tattooing and scalping key forms of cultural and political contestation in early America. Although these bodily practices were quite distinct-one a painful but generally voluntary sign of accomplishment and affiliation, the other a violent assault on life and identity-they were linked by growing colonial perceptions that both were crucial elements of "Nativeness." Tracing the transformation of concepts of bodily integrity, personal and collective identities, and the sources of human difference, Under the Skin investigates both the lived physical experience and the contested metaphorical power of early American bodies. Struggling for power on battlefields, in diplomatic gatherings, and in intellectual exchanges, Native Americans and Anglo-Americans found their physical appearances dramatically altered by their interactions with one another. Contested ideas about the nature of human and societal difference translated into altered appearances for many early Americans. In turn, scars and symbols on skin prompted an outpouring of stories as people debated the meaning of such marks. Perhaps paradoxically, individuals with culturally ambiguous or hybrid appearances prompted increasing efforts to insist on permanent bodily identity. By the late eighteenth century, ideas about the body, phenotype, and culture were increasingly articulated in concepts of race. Yet even as the interpretations assigned to inscribed flesh shifted, fascination with marked bodies remained.

Looking at the newspaper clipping from 1870 to 1930 in art and science, this study examines knowledge production and its visual and material background, combining the perspectives of media history with art history and the history of science. It traces the biography of a newspaper clipping in different fields, ranging from highly sophisticated ordering systems in the sciences, to bureaucratic archives, to their appearance in the collages of the Dadaists. Te Heesen emphasises the materiality of paper and analyses the practices connected with it, placing them and their instruments and tools within a theoretical framework. This history also sheds light on the handling of information, information overload and the generation of knowledge, drawing parallels with the internet. Te Heesen offers a counterpoint to existing works on the iconographic meaning of materials by opening up an interdisciplinary framework through the use of different case studies. -- .

The first complete survey of the work of the much-loved and collected contemporary Italian multimedia artist Paola Pivi - with more than 250 images, including previously unpublished work. Published in association with Anchorage Museum, Alaska; The Andy Warhol Museum, Pittsburgh; The Bass Museum of Art, Miami Beach; [mac] musee d'art contemporain de Marseille; and MAXXI Museo nazionale delle arti del XXI secolo, Rome. Probably best known for her playful, complex installations of life-sized, brightly-hued, feathered polar bears, Paola Pivi has created work across a range of media - including sculpture, video, photography, performance, and installation - throughout her 27-year career. Often using recognisable objects that are modified to introduce new scale, material, or color, her work challenges viewers to rethink their position. This in-depth monograph, made with the close involvement of the artist, is her most substantial publication to date and features more than 250 images, including previously unpublished work, together with five newly commissioned essays giving insight and perspective on her incredibly diverse body of work.

Attention is focused on the configuration of national identities and the repertories of identity signs of the border population, on migration, artistic expression, imaginaries, and stereotypes about the border and border people, with an emphasis on the processes occurring to the south of the dividing line. The volume is enriched by interviews with people active in the graffiti scene in Tijuana and by 150 photographs taken in context.

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.

Offering a concise introduction of the invention and development of Chinese characters the book teases out the glyphic characteristics and rules for creating different calligraphic styles; visualizes the glyphic evolution of 132 commonly used characters and analyses a selection of over 60 outstanding type designs of renowned designers. It will enable designers to maximize the expression value of Chinese characters in visuals! Recent years have witnessed a Chinese character design boom, with influential activities popping up one after another across Asia. Institutions such as The Central Academy of Fine Arts, Just Fonts, 3type, Mojijuku have launched courses for Chinese character design. Meanwhile, various exhibitions, lectures, seminars, and competitions, online or offline, are popular with young designers. The innovative use of Chinese characters as main visual elements in design, such as brand identity, logos, books, and posters, enjoys growing trend globally. On the other hand, the cultural uniqueness of Chinese characters demands a sound understanding of its history from designers.

Late 1970s New York City was bankrupt and its streets dirty and dangerous. But thecity had a wild, raw energy that made it the crucible for the birth of rap culture and graffiti. Graffiti writers worked in extremely tough conditions: uncollected garbage, darkness, cramped spaces, and the constant threat of police raids, assault by security staff and attacks by rival crews. It was not unlike practicing performance art in a war zone. Yet during the fertile years of the late 1970s and 1980s they evolved their art from stylized signatures to full-blown Technicolor dreamscapes. Henry Chalfant created panoramic images of painted trains by photographing overlapping shots along the train s length. It took time to earn the writers trust andrespect, but Chalfant became their revered confidant and with Tony Silver went on to produce the classic documentary film Style Wars (1983). Through a series of interviews conducted by Sacha Jenkins, we hear the voices of these characters of old New York. Quite a few of the original writers are no longer with us, but those who have survived have continued to push the envelope as artists and individuals in a new millennium.The stories they tell, included here alongside iconic, raw photographs of their work, will enthrall graffiti fans everywhere."

Visually arresting and utterly one-of-a-kind, Sarah J. Sloat's Hotel Almighty is a book-length erasure of pages from Misery by Stephen King, a reimagining of the novel's themes of constraint and possibility in elliptical, enigmatic poems. Here, "joy would crawl over broken glass, if that was the way." Here, sleep is a "circle whose diameter might be small," a circle "pitifully small," a "wrecked and empty hypothetical circle." Paired with Sloat's stunning mixed-media collage, each poem is a miniature canvas, a brief associative profile of the psyche-its foibles, obsessions, and delights.

With the birth of contemporary museum culture and the advent of digital technologies, the 21st century has brought a whole new means by which to access art and its histories. How do we re-map the realm of contemporary art in light of a more inclusive awareness, taking into account the unprecedented global movements of artists today and representing the divergent histories of geographies that were once peripheral? The Artists Who Will Change the World is a new global map of art that points to the future. Unlike a traditional atlas, its cartography illustrates a world of international artists who may not yet be household names, but who will undoubtedly shape the art of tomorrow. Omar Kholeif provides an introductory field guide to what some of the most urgent contemporary artists are doing worldwide. These are artists whose work engages with the aesthetics of technology and the issues of tomorrow; artists who are developing concepts rarely tested before, or who are engaging with politics in new ways. The book is a journey of discovery that will influence generations of artists and art lovers to come.

"I've never made my art because I want to make money. I make it because I believe that my paintings . . . can change the world." Meet C215, a master street artist with a mission. C215 is the pseudonym chosen by Christian Gu my ("The French Banksy"), one of the world's most important masters of contemporary street art. He became famous in 2008 when Banksy invited him to collaborate on some projects, and today, even though he has the talent to work for galleries or museums, he continues producing his art on the street. See his amazing creations, and get to know him through a series of interviews conducted by Alessandra Mattanza, an expert in international street art. Known for drawing, painting, spray-painting, and personally photographing his works, C215 himself has in fact taken many of the images shown in this eye-opening volume. These photos enrich this intimate portrait of the artist, presenting his vision and his experience on the street. Readers can grasp the essence of his philosophy, and discover his most important works in the cities of Paris, London, Los Angeles, New York, Rome, Istanbul, New Delhi, and Fez as well as in Brazil, Poland, Israel, and Morocco.

For fifty years, graffiti and street art have been challenging conventions and stimulating debate around our perceptions of what constitutes art. As the genre enters its sixth decade, this ground-breaking book presents a new interpretation of where street art and graffiti are situated today. Introducing the concept of 'Intermural Art' - art in between the walls - Rafael Schacter presents a genre at a key moment of transition. While many street and graffiti artists are still challenging the orthodoxies of the public sphere, an increasingly large group are reshaping the field by no longer furtively entering the institution, no longer slavishly reproducing exterior works inside, but instead attempting to merge out and in to create a form that articulates graffiti, street and contemporary-art influences. Through forty profiles of the leading proponents of this new approach from around the globe, Rafael Schacter presents a compelling analysis for 'Intermural Art' while also showcasing some of the boldest work being made currently.

Chicago is home to more intact African American street murals from the 1970s and 1980s than any other U.S. city. Among Chicago's greatest muralists is the legendary William "Bill" Walker (1927-2011), compared by art historians to Diego Rivera. Francis O'Connor, America's foremost mural historian, called Walker the most accomplished contemporary practitioner of the classical mural tradition that runs from Giotto to Rivera. Though his art could not have been more public, Walker maintained a low profile during his working life and virtually withdrew from the public eye after his retirement in 1989. Author Jeff W. Huebner met Walker in 1990 and embarked on a series of insightful interviews in 2008. Those meetings form the basis of Walls of Prophecy and Protest, the story of Walker's remarkable life and the movement that he inspired. Featuring thirty-five color images of Walker's work, this handsome edition reveals the artist who was the primary figure behind Chicago's famed Wall of Respect and who created numerous murals that depicted African American historical figures; protested social injustice; and centered imagination, love, respect, and community accountability.

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.

Accompanying the solo exhibition of Barabasi Lab at the Ludwig Museum Budapest and the ZKM in Karlsruhe, this book will be more than exhibition catalogue: it comes with a range of voices and viewpoints that give readers a sweeping view of the work Barabasi has done over the last twenty years and how it connects to art, science, and our general outlook on the world today. The Center for Complex Network Research (CCNR) at Northeastern University was founded 20 years ago and the lab is dedicated to a deeper thinking about networks—how they emerge and evolve, what they look like, and how they impact our understanding of complex systems. The backbone of this book are the extraordinary visualisations, in 2-D and 3-D, that Barabasi’s lab has evolved, and which are unique not only to his practice but to the world of network theory and science at large. A series of essays and statements by scientists and artists alike will be followed by a long, beautiful array of breathtaking plates. Given the current state of the world, the book will also explain how Barabasi’s work relates to Covid-19 and how understanding networks helps us predict and understand the spread of diseases.

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.

"Hassan Massoudy's calligraphies are arranged to loosely follow the seasons, beginning and ending with autumn: sombre, wintry hues at one end, brilliant tones full of vibrant reds at the other."--Venetia Porter

Hassan Massoudy's elegant calligraphy depicts the four seasons of the garden. From the icy palettes of winter and the fading hues of autumn to delicate spring growth and the dazzling sunshine and blooms of summer, he captures in calligraphy what countless poets have wrought with words.

Massoudy draws his seasonal inspirations from writers and artists, including Kahlil Gibran, Henri Matisse, Lao Tzu, William Blake, and Victor Hugo, as well as from Hungarian, Spanish, Turkish, and Japanese proverbs.

Hassan Massoudy was born in Najaf, Iraq. He moved to France in 1969, where he studied at L'Ecole des Beaux-Arts. His work has been exhibited throughout Europe, North Africa, and the Middle East, and is in the permanent collections of the British Museum and the Jordan National Gallery of Fine Arts, among others. Nineteen books of his calligraphy have been published in France, along with his autobiography, "Si loin de l'Euphrate: Une jeunesse d'artiste en Irak."