Stencil graffiti is sweeping the globe. This phenomenon has found its heart in Melbourne, Australia. No other city boasts such quantity and quality of stencil art. This is the first book to explore the city's though provoking, visually rich stencil graffiti scene. Over 475 colour images document the beauty and breadth of the work being produced. Featuring work from artists including Meek, Psalm, Sixten, Prism, Meggs, Sync, Phibs, Rone, Banksy and more, this book is essential for anyone with interests in street art, popular culture and design.
In this entirely original collection, stencil maverick Ed Roth presents 25 brand-new stencil designs from retro-cool typewriters, microphones, and roller skates to elegant leaves, birds, and abstract shapes. Ed also offers step-by-step directions for more than 20 wildly creative projects that take stenciling to a whole new level. With the help of creative friends such as Erica Domesek of P.S. - I made this and embroidery queen Jenny Hart, Ed shows how to stencil on just about anything T-shirts, leather, mirrors, food, and even hair using a variety of techniques like stitching, etching, and more.
Widely regarded as the authoritative reference on Australian art with its extensive colour plates and 4500 entries. Fully illustrated with more than 700 images on 1200 pages. Entries include: Aboriginal art, Abstractionism, art links, sculptors, photographers, craft workers and printmakers and much more.
What is street art? Who is the street artist? Why is street art a crime? Since the late 1990s, a distinctive cultural practice has emerged in many cities: street art, involving the placement of uncommissioned artworks in public places. Sometimes regarded as a variant of graffiti, sometimes called a new art movement, its practitioners engage in illicit activities while at the same time the resulting artworks can command high prices at auction and have become collectable aesthetic commodities. Such paradoxical responses show that street art challenges conventional understandings of culture, law, crime and art. Street Art, Public City: Law, Crime and the Urban Imagination engages with those paradoxes in order to understand how street art reveals new modes of citizenship in the contemporary city. It examines the histories of street art and the motivations of street artists, and the experiences both of making street art and looking at street art in public space. It considers the ways in which street art has become an integral part of the identity of cities such as London, New York, Berlin, and Melbourne, at the same time as street art has become increasingly criminalised. It investigates the implications of street art for conceptions of property and authority, and suggests that street art and the urban imagination can point us towards a different kind of city: the public city. Street Art, Public City will be of interest to readers concerned with art, culture, law, cities and urban space, and also to readers in the fields of legal studies, cultural criminology, urban geography, cultural studies and art more generally.
Ken Gelder covers a remarkable range of forms and practices across many different subcultural groups: from the Ranters to the riot grrrls, from bebop to hip hop, and from hippies and Bohemians to digital pirates and virtual communities.
Semiotic Landscapes is an exciting addition to the study of linguistic landscapes. It looks at how landscape generates meaning and combines three major areas of scholarly interest each concerned with central dimensions of contemporary life: language and visual discourse, spatial practices, and also the changes bought about by global capitalism and ever increasing mediatization. The editors look at: the textual/discursive construction of place; the use of space as a semiotic resource; the extent to which these processes are shaped by wider economic and political re-orderings of post-industrial or advanced capitalism; changing patterns of human mobility and transnational flows of ideas and images. The collection demonstrates the way written discourse interacts with all other discursive modalities: visual images, nonverbal communication, architecture and the built environment. From the red light districts of Switzerland to the transgressive public art of graffiti, all landscape can be seen to generate meaning. Semiotic Landscapes looks at how and why, and places this meaning generation in an interdisciplinary and thoroughly modern cross-section of global trends.
This theoretically and empirically grounded book uses case studies of political graffiti in the post-socialist Balkans and Central Europe to explore the use of graffiti as a subversive political media. Despite the increasing global digitisation, graffiti remains widespread and popular, providing with a few words or images a vivid visual indication of cultural conditions, social dynamics and power structures in a society, and provoking a variety of reactions. Using qualitative and quantitative methods, as well as detailed interdisciplinary analyses of "patriotic," extreme-right, soccer-fan, nostalgic, and chauvinist graffiti and street art, it looks at why and by whom graffiti is used as political media and to/against whom it is directed. The book theorises discussions of political graffiti and street art to show different methodological approaches from four perspectives: context, author, the work itself, and audience. It will be of interest to the growing body of literature focussing on (sub)cultural studies in the contemporary Balkans, transitology, visual cultural studies, art theory, anthropology, sociology, and studies of radical politics.
Love it or hate it, graffiti decorates every city and has become the art world's hot topic. Make sure it's on your radar! Inside you'll find these features: Star Story Read the Banksy story and find out what drives the mystery man to paint. Big Debate Is graffiti art or an act of vandalism? You decide! World View Take a look at the best graffiti art in the world.
