Simply opening these covers commits you to being dazzled by 100 of the UK's top "writers" and street artists, immersing yourself in the styles, past and present, which make UK street art great. Upon its arrival in the UK from New York in the 1980s, graffiti rapidly spread across the island, infecting the youth like a stylistic virus. Out of the early days came names that would become part of UK writing legend, such as Mode2, Zaki Dee 163, Choci Roc, Goldie, and Robbo. Alongside works by these pioneers, we sweep across the whole of the UK, taking in Scotland and Wales, running through the nineties and right up to the modern day when more advanced, technical graffiti, wheat pasting, and stenciling are the new media on the street. This collection includes works by Aroe, Skore, Xens and Kem, Mef, and more. Guiding us through this review is Steam 156, who was there at the start and is still as passionate as ever. This is a must-have collection for graffiti writers and fans around the world.
The form of graffiti writing on trains and walls is not accidental. Nor is its absence on cars and houses. Employing a particular style of letters, choosing which walls and trains to write on, copying another writer, altering or destroying another writer's work: these acts are regulated within the graffiti subculture. Copyright Beyond Law presents findings from empirical research undertaken into the graffiti subculture to show that graffiti writers informally regulate their creativity through a system of norms that are remarkably similar to copyright. The 'graffiti rules' and their copyright law parallels include: the requirement of writing letters (subject matter) and appropriate placement (public policy and morality exceptions for copyright subsistence and the enforcement of copyright), originality and the prohibition of copying (originality and infringement by reproduction), and the prohibition of damage to another writer's works (the moral right of integrity). The intersection between the 'graffiti rules' and copyright law sheds light on the creation of subculture-specific commons and the limits of copyright law in incentivising and regulating the production and location of creativity.
This book is an ethnographic account of San Francisco’s most inner city neighborhood, the Tenderloin. Using its streets as campus and its people as teachers, Stannard-Friel uses storytelling as a way of explaining why inner city social problems, such as homelessness, drugs, prostitution, untreated mental illness, and death of young people by murders and suicides, exist and persist there. The work delves into who lives in the Tenderloin and why, the role of dedicated service providers in meeting people’s needs and encouraging social change, and what lessons university students, many coming from their own challenging backgrounds, learn through community engagement and service learning that encourage understanding, compassion, and meaningful contributions to society. The work also explores how life in the area is changing, and why so many youth report that they “love living in the Tenderloin.”
What is the relationship between street art and the law? In this work, Andrea Baldini argues that street art has a constitutive relationship with the law. By subverting laws and norms regulating public spaces, street art is outlaw art.
Here are 100 adaptable discussion starters. A brief story, usually factual, is followed by a series of provocative questions. 100 double-page spreads contain a story on the left-hand page and questions on the right. Stories explore a topic pertinent to young people, e.g. drugs, truancy, parental relationships; or an important biblical concept, e.g. giving, the afterlife, love. Questions begin with general discussion and move on to what the Bible has to say. Extra questions are included for use with unchurched young people. The last 25 discussion starters provide a journey through the main stories and themes of the Bible.
This Is Not a Photo Opportunity is a street-level, full-color showcase of some of Banksy’s most innovative pieces ever. Banksy, Britain’s now-legendary “guerilla” street artist, has painted the walls, streets, and bridges of towns and cities throughout the world. Once viewed as vandalism, Banksy’s work is now venerated, collected, and preserved. Over the course of a decade, Martin Bull has documented dozens of the most important and impressive works by the legendary political artist, most of which are no longer in existence.
A Collection of Graffiti Locations and Photographs from Around the U.K.
Author: Martin Bull
Publisher: PM Press
An up-to-date visual tour of the rest of the graffiti artist's street works from the past five years catalogs more than 100 different locations and is complemented by informative facts, a walking tour of pieces in Banksy's native Bristol and examples of graffiti works by a selection of his peers. Original.
Performing Cities is an edited volume of contributions by a range of internationally renowned academics and performance makers from across the globe, each one covering a particular city and examining it from the dynamic perspectives of performances occurring in cities and the city itself as performance.
Offers interviews with such leading urban artists as Shepard Fairey, Swoon, and Os Gemeos; presents both outdoor work and pieces created for exhibitions and other indoor spaces; and discusses the commercial aspect of the street art movement and the role of its key sales outlets.
This anthology presents a range of interdisciplinary explorations into the urban environment, through film, photography, digital imagery, maps and signage. Contributors examine our fascination with the city through the history of art and architecture, urban studies, environmental studies, cultural geography and screen studies. Bringing together a wide spectrum of urban contexts, Visualizing the City's diverse essays explore visual representations of urbanism and modernity reflected through the prism of global cultures using an engaging variety of methods and texts.