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Street Art New York 2000-2010 by Jaime Rojo,Steven P. Harrington Pdf
Now available again the authors take readers on a fast-paced run through New York City, resulting in a vibrant look at the urban art revolution happening on the streets of the city today. New York is a street art Mecca, boasting a vast outdoor gallery which encompasses walls, fences, sidewalks, and just about any other available surface. Featured in this dynamic collection are approximately 200 images of works by exciting newcomers and old masters, including New Yorkers Swoon, Judith Supine, Dan Witz, Skewville, WK Interact, L.A.'s Shepard Fairey, Brazil's Os Gemeos, Denmark's Armsrock, France's Space Invader, C215, Mr. Brainwash, Germany's Herakut, London's Nick Walker and the infamous Banksy. A foreword by Carolina A. Miranda, author of the blog C-Monster.net, rounds out this compelling portrait of the state of urban art in one of its most important and supportive communities.
This true story and retrospective documents the life and times of members of The Destiny Children (TDC) graffiti crew from 1985 to 2000. From Long Island, New York, The Destiny Children/Unlimited Styled Artists commemorate the 25-year history of the crew and their impact on the New York City subway graffiti era. This large collector's book is loaded with 500 color images of original art ranging from burners on hand ball courts to pieces on tractor trailers to works throughout the New York City subway system. Works by many established NYC graffiti artists are featured, including founding members DC3 and SHO. Other original members featured are ZOO, SHOROZ, BEAVER, LAE, LAC2, ROE, DOOJ, SHIM, and ONE2. Works by affiliated writers, ZEUS TDC, CEOS, ROZ One, SHARE 37, POKE IBM, EPIC, RECK, SKETCH, KARL TCM, DEON, BOM 5 MW, SACE RIP, MIRAGE RIP, and others are documented. Alongside the visual accounts of these artistic exploits are dozens of true stories and recollections that uncover the reality of painting in yards, lay ups, racking spray paint, fights, graffiti beefs, and police raids. See what made TDC take extraordinary risks so their street art could be seen by the public in their never-ending quest for fame. An ideal history for artists, art historians, street art enthusiasts, anthropologists, and urban dwellers.
City as Canvas by Carlo McCormick,Sean Corcoran Pdf
A visual account of the birth of graffiti and street art, showcasing as-yet-unseen works collected by preeminent artist Martin Wong. Referred to by the New York Times as an artist "whose meticulous visionary realism is among the lasting legacies of New York’s East Village art scene of the 1980s," Martin Wong (1946–1999) was firmly entrenched in the NYC street art world of the late ’70s and ’80s. City as Canvas chronicles the most important chapter in the street art movement and the artists involved. Showcasing Wong’s enormous graffiti art collection, the book contains artwork, photographs, black books, letters, postcards, posters, and flyers made by Wong and his artist friends. The book contains previously unpublished art by famous street artists such as Futura 2000, Jean-Michel Basquiat, Christopher "Daze" Ellis, LA II, Lady Pink, and Keith Haring, to name only a few. City as Canvas traces the origins of urban self-expression and the era of "outlaw" street art in New York, which primed the floodgates for graffiti art to spread worldwide. Exhibition Schedule: Museum of the City of New York: Opens October 2013
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.
Urban Revitalization by Carl Grodach,Renia Ehrenfeucht Pdf
Following decades of neglect and decline, many US cities have undergone a dramatic renaissance. From New York to Nashville and Pittsburgh to Portland governments have implemented innovative redevelopment strategies to adapt to a globally integrated, post-industrial economy and cope with declining industries, tax bases, and populations. However, despite the prominence of new amenities in revitalized neighborhoods, spectacular architectural icons, and pedestrian friendly entertainment districts, the urban comeback has been highly uneven. Even thriving cities are defined by a bifurcated population of creative class professionals and a low-wage, low-skilled workforce. Many are home to diverse and thriving immigrant communities, but also contain economically and socially segregated neighborhoods. They have transformed high-profile central city brownfields, but many disadvantaged neighborhoods continue to grapple with abandoned and environmentally contaminated sites. As urban cores boom, inner-ring suburban areas increasingly face mounting problems, while other shrinking cities continue to wrestle with long-term decline. The Great Recession brought additional challenges to planning and development professionals and community organizations alike as they work to maintain successes and respond to new problems. It is crucial that students of urban revitalization recognize these challenges, their impacts on different populations, and the implications for crafting effective and equitable revitalization policy. Urban Revitalization: Remaking Cities in a Changing World will be a guide in this learning process. This textbook will be the first to comprehensively and critically synthesize the successful approaches and pressing challenges involved in urban revitalization. The book is divided into five sections. In the introductory section, we set the stage by providing a conceptual framework to understand urban revitalization that links a political economy perspective with an appreciation of socio-cultural factors in explaining urban change. Stemming from this, we will explain the significance of revitalization and present a summary of the key debates, issues and conflicts surrounding revitalization efforts. Section II will examine the historical causes for decline in central city and inner-ring suburban areas and shrinking cities and, building from the conceptual framework, discuss theory useful to explain the factors that shape contemporary revitalization initiatives and outcomes. Section III will introduce students to the analytical techniques and key data sources for urban revitalization planning. Section IV will provide an in-depth, criticaldiscussion of contemporary urban revitalization policies, strategies, and projects. This section will offer a rich set of case studies that contextualize key themes and strategic areas across a range of contexts including the urban core, central city neighborhoods, suburban areas, and shrinking cities. Lastly, Section V concludes by reflecting on the current state of urban revitalization planning and the emerging challenges the field must face in the future. Urban Revitalization will integrate academic and policy research with professional knowledge and techniques. Its key strength will be the combination of a critical examination of best practices and innovative approaches with an overview of the methods used to understand local situations and urban revitalization processes. A unique feature will be chapter-specific case studies of contemporary urban revitalization projects and questions geared toward generatingclassroom discussion around key issues. The book will be written in an accessible style and thoughtfully organized to provide graduate and upper-level undergraduate students with a comprehensive resource that will also serve as a reference guide for professionals
Contemporary Street Arts in Europe by S. Haedicke Pdf
Street theatre invades a public space, shakes it up and disappears, but the memory of the disruption haunts the site for audiences who experience it. This book looks at how the dynamic interrelationship of performance, participant and place creates a politicized aesthetic of public space that enables the public to rehearse democratic practices.
Routledge Handbook of Graffiti and Street Art by Jeffrey Ian Ross Pdf
The Routledge Handbook of Graffiti and Street Art integrates and reviews current scholarship in the field of graffiti and street art. Thirty-seven original contributions are organized around four sections: History, Types, and Writers/Artists of Graffiti and Street Art; Theoretical Explanations of Graffiti and Street Art/Causes of Graffiti and Street Art; Regional/Municipal Variations/Differences of Graffiti and Street Art; and, Effects of Graffiti and Street Art. Chapters are written by experts from different countries throughout the world and their expertise spans the fields of American Studies, Art Theory, Criminology, Criminal justice, Ethnography, Photography, Political Science, Psychology, Sociology, and Visual Communication. The Handbook will be of interest to researchers, instructors, advanced students, libraries, and art gallery and museum curators. This book is also accessible to practitioners and policy makers in the fields of criminal justice, law enforcement, art history, museum studies, tourism studies, and urban studies as well as members of the news media. The Handbook includes 70 images, a glossary, a chronology, and the electronic edition will be widely hyperlinked.
Street Art New York by Jaime Rojo,Steven P. Harrington Pdf
The authors of the successful Brooklyn Street Art book expand their scope and take readers on a fast-paced run through Germany City, resulting in a vibrant look at the urban art revolution happening on the streets of the city today. Germany is a street art Mecca, boasting a vast outdoor gallery which encompasses walls, fences, sidewalks, and just about any other available surface. Featured in this dynamic collection are approximately 200 images of works by exciting newcomers and "old masters," including Germanyers Swoon, Judith Supine, Dan Witz, Skewville, and WK Interact, LA's Shepard Fairey, Brazil's Os Gemeos, Denmark's Armsrock, France's Space Invader, C215, and Mr. Brainwash, Germany's Herakut, and London's Nick Walker and the infamous Banksy. Quotes from the artists provide fresh insights into the cultural history and impact of this art form. Their observations show how older artists are providing inspiration to a younger generation and reveal how the establishment is taking notice of street art's appeal as the advertising world, and visual culture in general, cull ideas from these images. A foreword by Carolina A. Miranda, author of the blog C-Monster.net, rounds out this compelling portrait of the state of urban art in one of its most important and supportive communities.
The User Perspective on Twenty-First-Century Art Museums by Georgia Lindsay Pdf
The User Perspective on Twenty-First Century Art Museums explains contemporary museums from the whole gamut of user experiences, whether users are preserving art, creating an exhibit, visiting, or part of institutions that use the architecture for branding. Fourteen museums from the United States, Europe, China, and Australia represent new construction, repurposed buildings, and additions, offering examples for most museum design situations. Each is examined using interviews with key stakeholders, photographs, and analyses of press coverage to identify lessons from the main user groups. User groups vary from project to project depending on conditions and context, so each of the four parts of the book features a summary of the users and issues in that section for quick reference. The book concludes with a practical, straightforward lessons-learned summary and a critical assessment of twenty-first-century museum architecture, programming, and expectations to help you embark on a new building design. Architects, architecture students, museum professionals, and aficionados of museum design will all find helpful insights in these lessons and critiques.
From hashtag activism to the flood of political memes on social media, the landscape of political communication is being transformed by the grassroots circulation of opinion on digital platforms and beyond. By exploring how everyday people assist in the promotion of political media messages to persuade their peers and shape the public mind, Joel Penney offers a new framework for understanding the phenomenon of viral political communication: the citizen marketer. Like the citizen consumer, the citizen marketer is guided by the logics of marketing practice, but, rather than being passive, actively circulates persuasive media to advance political interests. Such practices include using protest symbols in social media profile pictures, strategically tweeting links to news articles to raise awareness about select issues, sharing politically-charged internet memes and viral videos, and displaying mass-produced T-shirts, buttons, and bumper stickers that promote a favored electoral candidate or cause. Citizens view their participation in such activities not only in terms of how it may shape or influence outcomes, but as a statement of their own identity. As the book argues, these practices signal an important shift in how political participation is conceptualized and performed in advanced capitalist democratic societies, as they casually inject political ideas into the everyday spaces and places of popular culture. While marketing is considered a dirty word in certain critical circles -- particularly among segments of the left that have identified neoliberal market logics and consumer capitalist structures as a major focus of political struggle -- some of these very critics have determined that the most effective way to push back against the forces of neoliberal capitalism is to co-opt its own marketing and advertising techniques to spread counter-hegemonic ideas to the public. Accordingly, this book argues that the citizen marketer approach to political action is much broader than any one ideological constituency or bloc. Rather, it is a means of promoting a wide range of political ideas, including those that are broadly critical of elite uses of marketing in consumer capitalist societies. The book includes an extensive historical treatment of citizen-level political promotion in modern democratic societies, connecting contemporary digital practices to both the 19th century tradition of mass political spectacle as well as more informal, culturally-situated forms of political expression that emerge from postwar countercultures. By investigating the logics and motivations behind the citizen marketer approach, as well as how it has developed in response to key social, cultural, and technological changes, Penney charts the evolution of activism in an age of mediatized politics, promotional culture, and viral circulation.
Street Art and Activism in the Greater Caribbean by Jana Evans Braziel Pdf
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 cities: Yulier Rodriguez Pérez, "Jerry" Rosembert Moïse, and Colectivo Moriviví (Chachi González Colón, Raysa Rodríguez García, and Salomé Cortés). Braziel offers art historical and geopolitical analyses of the urban street art in their cities of production, underscoring street art as political, economic, and environmental engagements (and not as exclusively aesthetic ones) with urban space and street life. The book will be of interest to scholars working in art history, Caribbean studies, Latin American studies, and urban studies.
Fulfilling the need for English-source material on contemporary Spain, this book supplies readers with an in-depth, interdisciplinary guide to the country of Spain and its intricate, diverse culture. Far from a usual reference book, Modern Spain takes the reader through the country's history, economy, and politics as well as topics that address Spain's popular culture, such as food, sports, and sexuality. Because of the interdisciplinary nature of its content, this book differs from the average typical English manuals that very rarely cover in depth the whole array of interesting issues that define Spain in the 21st century. The vast amount of information makes this book the perfect companion for any reader wishing to learn more about Spain. Packed with current facts and statistics, this book offers an unbiased view of a modern country, making it an ideal source for undergraduate students and scholars.
Where do we draw the line? by Alexandra Parker,Samkelisiwe Khanyile,Kate Joseph Pdf
Graffiti is a controversial subject and fraught with ambiguities and contradictions. However, the recent global success of artists such as Banksy, Melbourne’s booming graffiti tourism, and the rise of the ‘creative city’ discourse, have blurred the lines between what some regard as vandalism and some as public art. As such, graffiti has increasingly become part of mainstream culture and in some countries has been promoted as a contributor to the urban environment. Thus, as practices and perceptions of graffiti shift, so does our need to better understand the role of graffiti in our urban environments. Through a case study of the Maboneng precinct, this GCRO Occasional Paper investigates the contribution made by graffiti to tourism and public and private investment in the inner-city of Johannesburg. The paper uses visual and spatial analyses of graffiti in Maboneng’s development. The research shows the extent to which the Maboneng precinct is branded through urban aesthetics, including graffiti, and demonstrates that graffiti contributes to placemaking by creating meaningful or identifiable spaces. The analysis reveals graffiti’s aesthetic value in the urban environment: it signifies the redevelopment of Maboneng, distinguishes the area at a local level from surrounding spaces, and also projects a global aesthetic. Using this case study of Maboneng we hope to show how graffiti is leveraged in nurturing urban development, creative economies and tourism in the inner-city. The Occasional Paper is comprised of two parts. The first half of the paper aims to understand the role of graffiti in its urban context. A first section examines the history of graffiti, considering centuries-old traditions of markings on walls, the intersection of graffiti with the birth of hip hop culture and, in the South African context, the role of graffiti in anti-apartheid protest politics. A further section explores the spectrum of graffiti aesthetics, from text-based expressions to the murals of street art. A third section traces graffiti’s complicated relationship to the urban environment, with changing perceptions of graffiti: as vandalism, or a mode of urban dialogue, or a form of outdoor gallery. The sections in this first half of the paper explore the transitions graffiti has made over time and highlight the fluid nature of graffiti, both in space and in the way that it is conceived. They illustrate how graffiti, once perceived as synonymous with urban blight and decay, vandalism and crime, has over time gained a more legitimate social status, for example through commissioned murals or the work of famed international artists, in the process raising the question of who decides the aesthetic of the urban environment and who has a right to participate in the production of urban space. In the second half of the paper, we focus on a case study of Maboneng, in the City of Johannesburg. Maboneng is an area of redevelopment in Johannesburg’s inner city, established in 2009. The neighbourhood has transformed through investment in the public environment and the upgrading of dozens of buildings with a focus on the creative economy. Graffiti and street art are prevalent in the area and have contributed to the branding of the area as a creative space. Through a photographic essay and mapping, we analyse the spatial and visual elements of graffiti in Maboneng, exploring its various contradictions, themes, surfaces, and the media used to create it. The detailed mapping examines different types of graffiti, and their locality, density, scale and visibility. The case study shows, in detail, the relationship between graffiti and the local urban environment, but also how graffiti relates to larger processes of urban and economic development in the city.
