Street Art is a phenomenon and subcultural movement that reaches from the darkest urban backstreets to the most glamorous international art fairs. Simon Armstrong examines how it evolved from its origins in the 1970s New York graffiti scene to embrace many new materials, styles and techniques along the way, tracing how this marginal art form graduated into art galleries and the art market, while also heavily influencing design, fashion, advertising and visual culture.
Despite having earned a place in the canon of 20th-century art history, Street Art’s qualifications are often disputed both by the art establishment and practitioners themselves, all concerned with notions of authenticity. Examining Street Art’s controversial history in detail, this book provides a full-colour worldwide journey, taking in all of the movement’s significant artists and artworks, styles, materials and methods, and showcasing the works that have come to define it more than any other. It also examines its close relationship to Pop Art and Digital Art, and explores possible futures for Street Art.
Although his cut and slash mash-ups of subway platform billboards only exist in New York City, Poster Boys artful and funny appropriations of advertising has gotten him attention the world over. "The New York Times" dubbed him a kind of anti-consumerist Zorro with a razor blade, a sense of humor and a talent for collage; the "Guardian UK" said of his work, it is witty, web savvy and economical and the only materials it requires are chutzpah, imagination and a 50 cent blade. In little more than a year, Poster Boy has taken the street art world by storm, altering more than 200 posters. He exploits the fact that these posters are printed on self-adhesive material that can be cut and then re-applied to a surface, giving posters that everyone takes for granted a new look. "Poster Boy" tweaks corporate copy, replacing it with incisive and playful puns and turns of phrase rich with innuendo and political punch. Beautiful models turn ghastly and iconic spokespeople become the mouthpieces for Poster Boys ideas. This book includes an interview with the mysterious figure and documents some of his best pieces, including before and after examples. Poster Boys notoriety has increased in the wake of an arrest at an art opening, a project commissioned by New Yorks MoMA and a large-scale installation at a Newark, New Jersey, gallery. But even with so many eyes keeping watch over him, from the police to the media, billboards continue to fall prey to his unique vision.
Buenos Aires is the second largest city in South America. It should come as no surprise then that it boasts a sprawling and distinctive street art scene that reflects the civic pride of the "portenos" - the word used to refer to the city's citizens - as well as the influences of global graffiti, street art and visual cultures. "Textura Dos: Buenos Aires Street Art" breaks the city down into neighborhoods, or "barrios," providing a stunning visual tour of the city. The authors recount their experiences exploring the featured barrios, meeting the artists and photographing their work. In revealing these visual aspects of Buenos Aires the authors also share their views of Buenos Aires, one of the world's great cities. From the murals of Palermo and San Telmo to the tags, burners and politically charged work of La Boca, the richness of the city's urban art takes shape between the covers of this book.
Like the original "Textura," "Textura Dos" also makes available to readers via download files of high-resolution graffiti patterns and textures that can be used for any number of design applications.
Bay Area Graffiti ‘80s—‘90s: Early Bombingis the product of a new exciting collaboration by SFaustina and Jocelyn Superstar. The two have authored a 208 page A-Z index hardcover book of the most prolific bombers of the ‘80s—‘90s, which includes interviews and photographs with such San Francisco Bay Area graffiti greats as Bigfoot, Buter, Ceaver, Cycle, Cuba, Eskimo/Moz, Fate/Venem, Geso, Giant, Jocelyn Superstar, Juice, Kept/Red, Kr, Log, Mize, Mes, Mq, Mr. Left, Pesk/Fword, Pez, Puzl, Renos, Safari, Skert, Spie, Teacher/Gift, UB40, Veks, Vegan, Ver, and Wart. Many other big name graffiti artists are featured in the book as well with multiple page photo spreads. Just a few of these include Amaze, Benet, Meta, Reminisce, Revok, Twist, and a ten-page section for Tie/Seo containing interviews with a number of his friends. Also integrated into the book is a six-page girls section, which celebrates the women of Bay Area graffiti and their unique styles. Bay Area Graffiti ‘80s—‘90s: Early Bombing is a different kind of book than has ever been written before and its viewpoint is highly personal because both authors, a male and a female, have together brought over 40 years of graffiti experience to the plate. The result is a winning combination.
Veteran graffiti writers SFaustina and Jocelyn Superstar have collaborated on a history of the graffiti scene in the San Franscisco Bay area from the early 1980s to the late 1990s. The result of their collaboration, Bay Area Graffiti: 80s-90s, provides a glimpse into street art history that is seldom seen: one that is authored by a pair of writers who have 40 years of graffiti experience between them and provides an insiders view on history and relevance of graffiti.Bay Area Graffiti: 80s-90s will include interviews with a range of the periods’ artists, such as BIGFOOT, ESKIMO, MQ and REVOK.
2011
This is the first edition (and now out of print) of Wild Colonial Boys, published in 2012 and used as a resource by both Cold Chisel and their management (who dubbed it 'the bible').
This is the most extensive book published on an Australian band. Drum Media's Mike Smith described the book thus- '... text enhanced considerably by interviews with the various members he's undertaken as well as with various managers and former managers, radio DJs and so on. Lawrence has also been given access to the band's business records and diaries. His obvious obsessive attention to detail ensures readers get everything they could possibly want to know, from the back stories to songs recorded and otherwise to set lists from obscure gigs to European and US shows.'
Berlin is a particularly strong magnet for international street artists and its landscape is filled with artwork and signatures that are inventing new visual codes. But the impressions that these artists leave are inevitably fleeting, as their art falls victim to the city's unrelenting development. Luckily, the book Urban Art Photography serves as a permanent documentation and time capsule of both the creation and evolution of these constantly changing images.
2008
This item is in good condition but has wear and tear on cover. Please enquire for photos.
Midnight Oil are one of the most 'Australian' rock bands this country has produced.
Born from the Australian pub rock scene that gave us AC/DC, Cold Chisel and INXS, the Oils were able to break out of that scene without compromising themselves in any way. Indeed, their breakthrough overseas record was the most Australian album they made.
But it wasn't just the subject matter that made them fiercely Australian; it was their stubborn independence, and their refusal to play the rock'n'roll game and respect its rules and masters. But more than any of this is the adrenaline rush of an Oils show. Performances so intense that witnesses swore they had seen the greatest Oils gig ever! Such was the belief that something so powerful could surely not take place regularly.
When they took this overseas, audiences could often not understand a word they were saying, but musically they recognised a common language: powerful, unadulterated live performances.
There is no band whose live shows are spoken of with the same awe as the Oils.
Olaf Hajek is currently one of the world's most successful and well-known illustrators. His work can be seen in publications including the New York Times and the Guardian, in advertisements for companies such as Bacardi and Daimler Benz, as well as on stamps for Great Britain's Royal Mail. Despite the diversity of his clientele, Hajek makes no aesthetic compromises. His characteristic style is what makes his work appealing to a broad audience and range of clients. Now his personal work is garnering increasing attention on the international art market. Hajek's colorful illustrations and textured paintings are infused with a folkloristic na*vet and freshness. Masterfully melding influences from West African and Latin American art, he creates surreal juxtapositions of fairytale fantasies and disordered realities. His "magical realism" enriches the perspective of anyone viewing his work. Black Antoinette is a collection of Olaf Hajek's most recent work that was created over the last three years. Consisting mostly of advertising and editorial contracts, commercial portraits, and fashion illustration, the examples in this book showcase a remarkable style that has become more free and painterly during this time. In his foreword, Philipp Demandt, the head of Berlin's Old National Gallery, positions Olaf Hajek at the nexus of the seemingly opposing realms of art
and contract work.
Traditional tattoo art is rapidly changing, moving away from time worn or played out motifs and instead experimenting with new styles, motifs and subject matter. Combining pages of beautiful tattoos on skin, flash art and stories from the artists to create a snapshot of the evolution of a new iconography, Skin & Ink delivers.
Author: Koons, Jeff
This volume is published for Jeff Koons’ largest ever exhibition in Italy, developed in close dialogue with the artist, and presenting some of the most celebrated works of this master who, from the mid-1970s until the present day, has forged a reputation as one of the most important figures of the global contemporary art scene. The book gathers paintings and sculptures on loan from international collections and museums in order to explore the concept of 'shine'.Responsible for countless works that have entered the collective imagination, Koons regards 'shine' as a key feature of his artwork – from the postmodern reinvention of the readymade to works in perfectly polished metal that resemble inflatable toys. Indeed, "shine" is far more than an ornament: it is the very substance of these works, as this reflective property brings together appearance and essence.
Author: Frank Lammer
A cunning group of street artists is appropriating public spaces with astonishing artistic interventions. We Come at Night introduces the work of thirteen street artists whose artistic interventions are not only aesthetically motivated but also function as razor-sharp social, political and ironic commentary on its surroundings.
The best graffiti from all over the world is collected in 256 pages, shot by Romany WG (see also Beauty in Decay and Beauty in Decay II), the result of 5 years of travelling and taking photos of the best graffiti on the planet.
