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This truly global and visually stunning compendium showcases
some of the most breath-taking pieces of street art and graffiti
from around the world. Since its genesis on the East Coast of the
United States in the late 1960s, street art has travelled to nearly
every corner of the globe, morphing into highly ornate and vibrant
new styles. This unique atlas is the first truly geographical
survey of urban art, revised and updated in 2023 to include new
voices, increased female representation and cities emerging as
street art hubs. Featuring specially commissioned works from major
graffiti and street art practitioners, it offers you an insider’s
view of the urban landscape as the artists themselves experience
it. Organized geographically, by continent and by city – from New
York, Los Angeles and Montreal in North America, through Mexico
City and Buenos Aires in Latin America, to London, Berlin and
Madrid in Europe, Sydney and Auckland in the Pacific, as well as
brand new chapters covering Africa and Asia – it profiles more
than 100 of today’s most important artists and features over 700
astonishing artworks. This beautifully illustrated book, produced
with the help of many of the artists it features, dispels the idea
of such art as a thoughtless defacement of pristine surfaces, and
instead celebrates it as a contemporary and highly creative
inscription upon the skin of the built environment.
Over the last forty years, graffiti and street-art have become a
global phenomenon within the visual arts. Whilst they have
increasingly been taken seriously by the art establishment (or
perhaps the art market), their academic and popular examination
still remains within old debates which argue over whether these
acts are vandalism or art, and which examine the role of graffiti
in gang culture and in terms of visual pollution. Based on an
in-depth ethnographic study working with some of the world's most
influential Independent Public Artists, this book takes a
completely new approach. Placing these illicit aesthetic practices
within a broader historical, political, and aesthetic context, it
argues that they are in fact both intrinsically ornamental (working
within a classic architectonic framework), as well as innately
ordered (within a highly ritualized, performative structure).
Rather than disharmonic, destructive forms, rather than ones solely
working within the dynamics of the market, these insurgent images
are seen to reface rather than deface the city, operating within a
modality of contemporary civic ritual. The book is divided into two
main sections, Ornament and Order. Ornament focuses upon the
physical artifacts themselves, the various meanings these public
artists ascribe to their images as well as the tensions and
communicative schemata emerging out of their material form. Using
two very different understandings of political action, it places
these illicit icons within the wider theoretical debate over the
public sphere that they materially re-present. Order is focused
more closely on the ephemeral trace of these spatial acts, the
explicitly performative, practice-based elements of their aesthetic
production. Exploring thematics such as carnival and play, risk and
creativity, it tracks how the very residue of this cultural
production structures and shapes the socio-ethico guidelines of
these artists' lifeworlds.
Over the last forty years, graffiti and street-art have become a
global phenomenon within the visual arts. Whilst they have
increasingly been taken seriously by the art establishment (or
perhaps the art market), their academic and popular examination
still remains within old debates which argue over whether these
acts are vandalism or art, and which examine the role of graffiti
in gang culture and in terms of visual pollution. Based on an
in-depth ethnographic study working with some of the world's most
influential Independent Public Artists, this book takes a
completely new approach. Placing these illicit aesthetic practices
within a broader historical, political, and aesthetic context, it
argues that they are in fact both intrinsically ornamental (working
within a classic architectonic framework), as well as innately
ordered (within a highly ritualized, performative structure).
Rather than disharmonic, destructive forms, rather than ones solely
working within the dynamics of the market, these insurgent images
are seen to reface rather than deface the city, operating within a
modality of contemporary civic ritual. The book is divided into two
main sections, Ornament and Order. Ornament focuses upon the
physical artifacts themselves, the various meanings these public
artists ascribe to their images as well as the tensions and
communicative schemata emerging out of their material form. Using
two very different understandings of political action, it places
these illicit icons within the wider theoretical debate over the
public sphere that they materially re-present. Order is focused
more closely on the ephemeral trace of these spatial acts, the
explicitly performative, practice-based elements of their aesthetic
production. Exploring thematics such as carnival and play, risk and
creativity, it tracks how the very residue of this cultural
production structures and shapes the socio-ethico guidelines of
these artists' lifeworlds.
Using humour, sensitivity, and precise interventions, the American
artist Brad Downey investigates the underlying structure of our
cities, our landscapes, our sacred sites, as well as the forgotten
peripheries and contested borders. In the process he weaves
entirely new narratives with their chaotic patterns, obscuring the
separation between art and everyday life. Slapstick Formalism
presents a synopsis of his overall multifaceted oeuvre: sculptures,
architecture, performances, installations, films, drawings,
collages, and activism, each of which is inspired by the objects
and activities of daily life.
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.
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