Profiles the art of twenty-nine skateboarders who are also artists, displaying a wide range of works from decorative boards and abstract canvases to graffiti and other guerrilla street art.

This book comprises selected proceedings of the International Conference on Recent Advancements in Civil Engineering and Infrastructural Developments (ICRACEID 2019). The contents are broadly divided into five areas (i) smart transportation with urban planning, (ii) clean energy and environment, (iii) water distribution and waste management, (iv) smart materials and structures, and (v) disaster management. The book aims to provide solutions to global challenges using innovative and emerging technologies covering various fields of civil engineering. The major topics covered include urban planning, transportation, water distribution, waste management, disaster management, environmental pollution and control, environmental impact assessment, application of GIS and remote sensing, and structural analysis and design. Given the range of topics discussed, the book will be beneficial for students, researchers as well industry professionals.

Outdoor Gallery - New York City documents the vibrancy of the diverse contemporary street art environment of New York City. The book predominantly collects the work of New York based artists, running the gamut from old school graffiti writers such as COPE2, to contemporary street artists such as HELLBENT, EKG, ASVP, CERN and GAIA. Their work is showcased alongside that of some international fellow travelers including NICK WALKER, THE YOK, SHERYO and KRAM. The book features hundreds of pieces of art by 46 different artists. The well-photographed works are accompanied by the artists musings on New York, street art and their own work and processes. This work is non-permanent and necessarily current and relevant. In Outdoor Gallery New York resident and author Yoav Litvin successfully documents the zeitgeist.

Sidewalk canvas: chalk pavement art at your feet is the first book to explore the fascinating art of street painting, where colourful pastels are substituted for paint and the pavement for canvas.

Radical political shifts that raged throughout Cuba in the 1950s coincided with the development of Cuban geometric abstraction and, notably, the formation of Los Diez Pintores Concretos (Ten Concrete Painters). The decade was marked by widespread turmoil and corruption following the 1952 military coup and by rising nationalist sentiments. At the same time, Havana was undergoing rapid urbanization and quickly becoming an international city. Against this vibrant backdrop, artists sought a new visual language in which art, specifically abstract art, could function as political and social practice. Concrete Cuba marks one of the first major presentations outside of Cuba to focus exclusively on the origins of concretism in the country. It includes important works from the late 1940s through the early 1960s by the twelve artists who were at different times associated with the short-lived group: Pedro Álvarez, Wifredo Arcay, Mario Carreño, Salvador Corratgé, Sandú Darié, Luis Martínez Pedro, Alberto Menocal, José M. Mijares, Pedro de Oraá, José Ángel Rosabal, Loló Soldevilla, and Rafael Soriano. Many of the group’s members had traveled widely in the preceding years and corresponded with those at the forefront of European and South American abstract movements. Produced on the occasion of the major exhibition at David Zwirner, Concrete Cuba is the first in-depth catalogue on the subject to be published in English; the show offered a “wonderful taste of a very complicated history,” according to Roberta Smith of The New York Times. With an extensive plate section, which includes works from the exhibition and a selection of important pieces from the permanent collection of Museo Nacional de Bellas Artes, Havana, this volume provides readers with a rich visual experience of this crucial period in modernism’s history. The catalogue also features an extensively researched illustrated chronology, compiled by Susanna Temkin, which tracks the development of the period artistically and politically from 1939 through 1964. New scholarship by Abigail McEwen offers an interpretative framework for this group of artists, and a deeper understanding of the forces behind the development of this movement. Also included is a conversation between Lucas Zwirner and Pedro de Oraá, one of the central members of Los Diez.

In many war torn and poverty stricken regions, the indigenous architecture has been heavy mud and wattle roofs on thick mud walls. These structures, while cool in the summer, are of very low strength, are maintenance intensive, are time consuming to build, and are largely in massive disrepair. Replacing these mud structures with the light weight roofs of latex concrete produces a permanent architecture significantly more safe and strong, of very low maintenance, and of remarkably low cost, as the roofs can be built by available unskilled labor. The time required for reconstruction is considerably shorter than the time required to replace the older heavy construction, and the self-help characteristic of this new form of construction leads to more rapid recovery from disaster. This how-to-do-it manual teaches people how to build these new roofs.