DIVAn authoritative guide to the most significant artists, schools, and styles of street art and graffiti around the world/div

This comprehensive and visual history of graffiti in Los Angeles examines the myriad styles and techniques used by writers today.A.Us most prolific and infamous writers provide insight into the lives of these fugitive artists.

The original collection featured in "Graffiti World" highlighted more than 2,000 illustrations by 150 artists from around the world. This updated edition includes a new section devoted to work created in the five years since the book's first edition.

The Routledge Handbook of Graffiti and Street Art integrates and reviews current scholarship in the field of graffiti and street art. Thirty-seven original contributions are organized around four sections: History, Types, and Writers/Artists of Graffiti and Street Art; Theoretical Explanations of Graffiti and Street Art/Causes of Graffiti and Street Art; Regional/Municipal Variations/Differences of Graffiti and Street Art; and, Effects of Graffiti and Street Art. Chapters are written by experts from different countries throughout the world and their expertise spans the fields of American Studies, Art Theory, Criminology, Criminal justice, Ethnography, Photography, Political Science, Psychology, Sociology, and Visual Communication. The Handbook will be of interest to researchers, instructors, advanced students, libraries, and art gallery and museum curators. This book is also accessible to practitioners and policy makers in the fields of criminal justice, law enforcement, art history, museum studies, tourism studies, and urban studies as well as members of the news media. The Handbook includes 70 images, a glossary, a chronology, and the electronic edition will be widely hyperlinked.

Six case studies, conducted in New York City, Trenton, and Jersey City, explore how graffiti murals are created and what role they play in cities where buffing illegal graffiti is a lucrative business. The author interviewed people affected on a daily basis by the murals at sites around the metropolitan area, including property owners who have welcomed the muralists in hopes that the artwork would serve as a deterrent to vandalism--and provide a more aesthetically pleasing alternative to buffing. This analysis, informed by cultural Marxism and supported by street photography, suggests a radical departure from traditional New York City policy: instead of spending money exclusively on the elimination of illegal graffiti, resources should also be devoted to the creation of graffiti murals. In the end, graffiti removal teams and mural promoters are pursuing the same goal: making the city a more visually appealing place.

Graffiti and street art images are ubiquitous, and they enjoy a very special place in collective imaginary due to their ambiguous nature. Sometimes enigmatic in meaning, often stylistically crude and aesthetically aggressive, yet always visually arresting, they fill our field of vision with texts and images that no one can escape. As they take place on surfaces and travel through various channels, they provide viewers an entry point to the subtext of the cities we live in, while questioning how we read, write and represent them. This book is structured around these three distinct, albeit by definition interwoven, key frames. The contributors of this volume critically investigate underexplored urban contexts in which graffiti and street art appear, shed light on previously unexamined aspects of these practices, and introduce innovative methodologies regarding the treatment of these images. Throughout, the focus is on the relationship of graffiti and street art with urban space, and the various manifestations of these idiosyncratic meetings. In this book, the emphasis is shifted from what the physical texts say to what these practices and their produced images do in different contexts. All chapters are original and come from experts in various fields, such as Architecture, Urban Studies, Sociology, Criminology, Anthropology and Visual Cultures, as well as scholars that transcend traditional disciplinary frameworks. This exciting new collection is essential reading for advanced undergraduates as well as postgraduates and academics interested in the subject matter. It is also accessible to a non-academic audience, such as art practitioners and policymakers alike, or anyone keen on deepening their knowledge on how graffiti and street art affect the ways urban environments are experienced, understood and envisioned.

Book description to come.

In Graffiti: Vandalism, Street Art and Cultural Significance, the authors first present a study wherein a political dimension of art was analyzed using Jacques Rancière's theory, the micropolitical context in contemporary cities was analyzed using Michael Foucault's theory, and the research methodology was based on the urban ethnography of Italian author Massimo Canevacci. They present the experiences of five graffiti writers, exposing themes of resistance against societal rules. Next, the books examine an event that happened during a graffitti workshop with youths in a city in the South of Brazil. The attempt to draw graffiti on a schools white wall, seen by the youths as transgression towards the institution and its rules, brought about a variety of reactions. The security guard reprimanded them, and the pedagogical coordinator listened to them, but also mentioned the possibility of asking the directors permission. After listening to the youths arguments and negotiating the image which would be drawn, the director ended up allowing the graffiti to be created. Next, the authors present a study on graffiti art in a skate park in Malta, with the goal of exploring some of the functions the artworks serve. The skate park authorises graffiti in an attempt to create safe spaces for young people aimed at engaging them in creative, recreational activities they enjoy doing. The authors suggest that graffiti art in designated spaces could potentially reverse the association of graffiti with social unrest, fear, vandalism and crime. Following this, the book analyzes graffiti and street-art production of the extreme right-wing groups in Slovenia. The authors state that modern fascism is direct, exclusive, and aggressive, while postmodern fascism has the potential to be even more dangerous, because it looks inclusive, conciliatory, and its diction seems integrative. The concluding study explores the efficiency of the laser cleaning of graffiti spray paints on different types of stone. Five graffiti spray paints are applied on marble, limestone and granite. After that, they are treated with two laser cleaning setups and the potential of the CuBrVL for cleaning of graffiti spray paints is demonstrated for the first time.

The wild, ramshackle streets of New Orleans tell a rich story of life, loss, celebration, and change. Winding through her veins-where rambling oak trees drenched in Spanish moss tower over uneven sidewalks-you discover colorful shotgun houses, doorknobs fashioned as skulls, the sweet smell of Southern Satsumas, and an unrestrained year-round celebration of music, culture, and art peppered with plenty of human characters. It's a celebration that has drawn visitors from all over the world and has made New Orleans a hotspot for creative types to live, work, and play. It is also home to two of the most controversial and accessible genres of art: street art and graffiti. The walls-even the ones that are blank or bombed by tags-are drenched in history and stand as witnesses to the city's resilience. They are pages torn from a book about the Crescent City, the Big Easy, the City That Care Forgot.

The Egyptian Revolution that began on 25 January 2011 immediately gave rise to a wave of popular political and social expression in the form of graffiti and street art, phenomena that were almost unknown in the country under the old regime. Mia Gröndahl, the photographer of Gaza Graffiti: Messages of Love and Politics and Tahrir Square: The Heart of the Egyptian Revolution, has followed and documented the constantly and rapidly changing graffiti art of the new Egypt from its beginnings, and here in more than 400 full-color images celebrates the imagination, the skill, the humor, and the political will of the young artists and activists who have claimed the walls of Cairo and other Egyptian cities as their canvas. From the simplest hand-written messages, through stencils and martyr portraits, to the elaborate murals of Mohamed Mahmoud Street, the messages on the walls are presented in themed sections-Revolution & Freedom, Egyptian & Proud, Cross & Crescent, Martyrs & Heroes-punctuated by interviews with some of the individual artists whose work has broken fresh ground.