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Books > Arts & Architecture > Art forms, treatments & subjects > Other graphic art forms
Since the 2011 Arab Spring street art has been a vehicle for
political discourse in the Middle East, and has generated much
discussion in both the popular media and academia. Yet, this
conversation has generalised street art and identified it as a
singular form with identical styles and objectives throughout the
region. Street art's purpose is, however, defined by the
socio-cultural circumstances of its production. Middle Eastern
artists thus adopt distinctive methods in creating their individual
work and responding to their individual environments. Here, in this
new book, Sabrina De Turk employs rigorous visual analysis to
explore the diversity of Middle Eastern street art and uses case
studies of countries as varied as Egypt, Tunisia, Lebanon,
Palestine, Bahrain and Oman to illustrate how geographic specifics
impact upon its function and aesthetic. Her book will be of
significant interest to scholars specialising in art from the
Middle East and North Africa and those who bring an
interdisciplinary perspective to Middle East studies.
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Alex Da Corte: Mr. Remember
(Hardcover)
Alex Da Corte; Edited by Laerke Rydal Jorgensen, William Pym, Mathias Ussing Seeberg; Foreword by Poul Erik Tojner; Text written by …
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R1,015
Discovery Miles 10 150
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Ships in 12 - 17 working days
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This is a nostalgic, visual account of the best time and place to
be a graffiti writer. In the 1980s, brothers Kenny, a.k.a. KEY, and
Paul, a.k.a. CAVS, immersed themselves in the graffiti scene in the
Boogie Down Bronx, dutifully photographing hundreds of pieces on
now-discontinued MTA subway cars and capturing their proud comrades
before, during, and after the act. Bombing White Elephants with
their pilot markers and documenting them with their cameras, which
they always carried, they were on the ride of their livesuntil
1989, when the last painted train was removed from service. Tags by
names like QUIK, IZTHEWIZ, and many others appear here in color
exposures, and dozens of artists share stories and drop knowledge
with no filter. A foreword by graffiti historian Henry Chalfant,
coproducer of Style Warsthe seminal documentary on New York
graffiti and hip-hop culturekicks things off.
Forces of Nature: Renwick Invitational 2020 features artists Lauren
Fensterstock, Timothy Horn, Debora Moore, and Rowland Ricketts.
Nature provides a way for these invited artists to ask what it
means to be human in a world increasingly chaotic and divorced from
our physical landscape. Representing craft media from fiber to
mosaic to glass and metals, these artists approach the long history
of art's engagement with the natural world through unconventional
and highly personal perspectives. Forces of Nature: Renwick
Invitational 2020 is the ninth installment of the Renwick
Invitational. Established in 2000, this biennial showcase
highlights midcareer and emerging makers who are deserving of wider
national recognition.The featured artists work in a wide variety of
media, from Lauren Fensterstock, who creates detailed, large-scale
installations using intensive modes of making drawn from the
decorative arts, including paper quilling and mosaic, and from whom
SAAM has commissioned a site-specific work--inspired in part by the
illustrated renaissance German manuscript The Book of Miracles
---that will transform an entire gallery at the Renwick, to Timothy
Horn, who creates exaggerated adornments that combine natural and
constructed worlds, taking inspiration from objects as varied as
baroque jewellery patterns and Victorian era detailed studies of
lichen, coral, and seaweed, from bronze and glass, as well as
unusual materials like crystalized rock sugar, to evoke the
extravagant Amber Room in the Catherine the Great's palace of
Tsarskoye Selo; and from Debora Moore, known for her exquisitely
detailed glass renderings of orchids, and who is represented in
this volume in her new series, Arboria (2018), in which Moore
focuses less on realism and more on capturing an intensely personal
experience of beauty and wonder, to Rowland Ricketts who creates
immersive installations using handwoven and hand-dyed cloth,
starting on his farm, where he cultivates the indigo plants he uses
to colour his artwork, fully linking his material and process with
the finished product. Participatory engagement from non-artists,
forms a major part of Rickett's work, emphasizing the relationship
between nature, culture, the passage of time, and everyday life.
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