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Stretched across city walls and along rooftops, Stephen Powers's colorful large-scale murals sneak up on you. "Open your eyes / I see the sunrise," "If you were here I'd be home," "Forever begins when you say yes." What at first looks like nothing as much as an advertisement suddenly becomes something grander and more mysterious—a hand-painted love letter at billboard size. Combining community activism and public art, Powers and his team of sign mechanics collaborate with a neighborhood's residents to create visual jingles— sincere and often poignant affirmations and confessions that reflect the collective hopes and dreams of the host community. A Love Letter to the City gathers the artist's powerful public art project for the first time, including murals on the walls and rooftops of Brooklyn and Syracuse, New York; Philadelphia; Dublin and Belfast, Ireland; São Paolo, Brazil, and Johannesburg, South Africa.
This book explores how street art has been used as a tool of resistance to express opposition to political systems and social issues around the world. Aesthetic devices such as murals, tags, posters, street performances and caricatures are discussed in terms of how they are employed to occupy urban spaces and present alternative visions of social reality. Based on empirical research, the authors use the framework of creative psychology to explore the aesthetic dimensions of resistance that can be found in graffiti, art, music, poetry and other creative cultural forms. Chapters include case studies from countries including Brazil, Canada, Chile, Denmark, Egypt, Ireland, Mexico and Spain to shed new light on the social, cultural and political dynamics of street art not only locally, but globally. This innovative collection will be of particular interest to scholars of social and political psychology, urban studies and the wider sociologies and is essential reading for all those interested in the role of art in social change.
Explores the influence of youth culture on transforming mainstream society through innovative cooperative venues and modern "do-it-yourself" values, in a report that reveals what can be learned through the indirect social experiments being performed by today's young artists and entrepreneurs. Reprint.
On the sides of buildings, on bridges, billboards, mailboxes, and street signs, and especially in the subway and train tunnels, graffiti covers much of New York City. This book offers a rare look into this world of contemporary graffiti culture.
Traditional depictions of London at night have imagined a lawless orgy of depravity and pestilence. But is Britain’s capital after dark now as bland and unthreatening as an evening in any new provincial town? Sukhdev Sandhu journeys across the city to find out whether the London night really has been rendered insipid by street lighting and CCTV. Night Haunts seeks to reclaim the mystery and romance of the city—to revitalize the great myth of London for a new century.
As dazzling as the art it celebrates, this volume is packed with 1,000 full-color illustrations and features in-depth interviews with more than 125 train artists and "writers" to provide unprecedented perspective into graffiti.
Foregrounding street art in the capital cities of Cuba, Haiti, and Puerto Rico, this book argues that Antillean street artists diagnose the “impossible state” of the arrested present (colonized, occupied, or under dictatorship) while simultaneously imagining liberated futures and fully sovereign states. Jana Evans Braziel launches a comparative study of art, politics, history, urban street cultures, engaged citizenships, and social transformations in three Antillean capital cities—Havana, Cuba; Port-au-Prince, Haiti; and San Juan, Puerto Rico—of the Greater Caribbean. The book includes a photo documentary archive of street art, murals, and installations by key muralists in these citi...
This study focuses on street art and large-scale murals in metropolitan Miami/Dade County, while also foregrounding the diasporic and aesthetic interventions made by migrant and second-generation artists whose families hail from the Caribbean and Latin America. Jana Evans Braziel argues that Caribbean and Latinx street artists define and visually mark the city of Miami as a diasporic, transnational urban space. These artists also help define Miami as a cosmopolitan city, yet one that is also a distinctly Caribbean and Latinx urban space, and simultaneously resist but also (at times reluctantly) participate in the forces of gentrification and urban re/development, particularly through the myriad and complex ways in which street art contributes to city branding and art tourism. The book will be of interest to scholars working in art history, urban studies, American studies, and Latin American/Caribbean studies.
This pivot analyzes the historical emergence of legal graffiti and how it has led to a new ethos among writers. Examining how contemporary graffiti writing has been brought into new relationships with major social institutions, it explores the contemporary dynamics between graffiti, society, the art world and social media, paying particular attention to how New York City’s political elite has reacted to graffiti. Despite its major structural transformation, officials in New York continue to construe graffiti writing culture as a monolithic, criminal enterprise, a harbinger of economic and civic collapse. This basic paradox – persistent state opposition to legal forms of graffiti that continue to gain social acceptance – is found in many other major cities throughout the globe, especially those that have embraced neoliberal forms of governance. The author accounts for the cultural conflicts that graffiti consistently engenders by theorizing the political and economic advantages that elites secure by endorsing strong 'anti-graffiti' positions.
Should piracy be treated as a problem or a solution? 'The Pirate's Dilemma' explores the underground trends that have spawned worldwide movements, addressing some of our most basic assumptions about business, society and our collective future.