Graffiti artist Banksy decorates streets, walls, bridges and zoos of towns and cities throughout the world. His identity remains unknown but his work is witty, subversive and prolific. And now, he’s put together the best of his work in a fully illustrated colour volume.
Banksy, Britain's now-legendary "guerilla" street artist, has painted the walls, streets, and bridges of towns and cities throughout the world. Not only did he smuggle his pieces into four of New York City's major art museums, he's also "hung" his work at London's Tate Gallery and adorned Israel's West Bank barrier with satirical images. Banksy's identity remains unknown, but his work is unmistakable—with prints selling for as much as $45,000.
Бэнкси уже давно стал культовой фигурой в среде граффитистов, хотя его настоящее имя до сих пор остается загадкой. Первая иллюстрированная биография на русском языке знакомит читателя с работами скандально известного английского андерграундного художника. Рисунки и фотографии сопровождаются автобиографическими анекдотами, афоризмами и практическими указаниями по рисованию граффити по трафаретам.
In this latest issue of Architectural Design the guest editors are drawn, like the content, from contrasting tastes and generations. Charles Jencks, the definer of Post-Modernism for thirty years, discusses some issues that have re-emerged today, while the young group of British architects, FAT, argues for a particular version of RPM. An interview between Rem Koohaas and Charles Jencks discusses the influence of Post-Modernism while investigations of street art, graffiti and the 1980 Venice Biennale show that communication is at the heart of this radical strain of architecture. This issue brings together an unlikely and exciting pairing of guest-editors: internationally acclaimed critic Charles Jencks, whose name became synonymous with Post-modernism in the 80s, and the dynamic architectural group, FAT. Features work by: ARM, Atelier Bow Wow, Édouard François, FOA, Rem Koolhaas, John and Valerio Olgiati.
See a scribble or a full mural on the side of a building or subway and most people will turn their heads in disgust. Why? Because most have a misconception of what art is, the different types of art and its history. So the question here is how can one artist, one supporter or maybe a whole community change the perspective of the world about what graffiti is and how it all began. Larger portion of society looks at graffiti as a non-form of art. In this research essay I would like you to open your mind and for you to really take a moment to think quietly to yourself and ask what art is. Graffiti Art is, as Banksy describes, “Imagine a city where graffiti wasn’t illegal, a city where everybody could draw whatever they liked. Where every street was awash with a million colours and little phrases. Where standing at a bus stop was never boring. A city that felt like a party where everyone was invited, not just the estate agents and barons of big business. Imagine a city like that and stop leaning against the wall - it’s wet.” – Banksy, Wall and Piece Or as Cath Crowley, Graffiti Moon “I spray the sky fast. Eyes ahead and behind. Looking for cops. Looking for anyone I don’t want to be here. Paint sails and the things that kick in my head scream from can to brick. See this, see this. See me emptied onto a wall.” Cath Crowley, Graffiti Moon So while you read this research essay keep the question in the back of your mind…Is Graffiti Art?
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.
In any urban setting throughout the world today, you can expect to see examples of stencil art. On street corners, train stations and public toilets the world over stencil art is a favoured tool of the graffiti artist. Many consider such imagery urban pollution, the work of mindless vandals. Such attitudes ignore what has fast become one of the most significant artistic and cultural movements of the early 21st century. Stencil art is no longer the sole domain of the graffiti artist, the aesthetic is now ubiquitous in advertising, the mainstream press and even on the walls of the world's most famous galleries.