Rafael Schacter

Lachlan Macdowall

Bursting with color and energy, this revised edition of the definitive guide to street art and graffiti covers the world's most significant artists, styles, and the urban landscapes that form their canvas Ten years after its original publication, The World Atlas of Street Art and Graffiti is recognized as the definitive guide to the most significant artists and styles of street art and graffiti around the world. This revised edition brings the content up to our present moment, expanding its geographic breadth to six continents. Featuring more than 700 full-color photographs of raw, energetic, whimsical, and eye-catching art, the book is visually exciting as well as an essential survey of the urban art of our time. Organized geographically by country and city, the publication profiles more than 100 of today's most important street artists--Espo in New York, Merlot in Seattle, Os Gêmeos in São Paulo, Michael Pederson in Sydney, Essu in Tokyo, Lady K in Paris, Milu Correch in Buenos Aires, and Nardstar in Cape Town----alongside key examples of their work. With contributions by the foremost authorities on street art and graffiti, this landmark publication continues to provide a nuanced understanding of a global contemporary art practice.

The World Atlas of Street Art and Graffiti

DIVAn authoritative guide to the most significant artists, schools, and styles of street art and graffiti around the world/div

Spontaneous, in-your-face and unauthorised, the work of street artists and graffiti writers demands our attention. Wildly creative and often subversive, street art shows that just because a work isn’t in a gallery doesn’t mean it’s not art. From Sao Paolo to Sydney, New York to Tokyo, these artists exhibit their work in the world’s most accessible museum – the street – sharing their vision with a public unable to avoid their work, like it or not. At its best, street art is not simply about slogans or personal promotion but is playful, creative and often beautiful, drawing on the energy of its surroundings. The World Atlas of Street Art and Graffiti focuses on the most prolific and interesting artists from around the globe – including 12 Australians.

Lukas Feireiss

Alain Bieber

Jimmie Durham

Matthew Murphy

Jennifer Thatcher

Hrag Vartanian

On American artist Brad Downey's public works blending everyday life and art This book surveys the work of Berlin-based American artist Brad Downey (born 1980) in sculpture, architecture, performance, installation, film, drawing, collage and activism. In his often humorous interventions, Downey questions the structure of cities and obscures the boundaries between art and everyday life.

Process, Project, Object

Brad Downey. Slapstick Formalism

John Fekner

From Steve Powers (Espo) in New York to Kid Zoom in Australia, taking in Banksy's London, Paris as transfigured by Honet and OX, and the gargantuan murals of the Brazilian twins 'Os G�meos', this geographical survey of urban art includes the latest works some of the most prolific and interesting artists from around the world. Since its genesis on the East Coast of the United States in the late 1960s, street art has travelled to nearly every corner of the globe, morphing into highly ornate and vibrant new styles. This unqiue atlas is the first truly geographical survey of urban art. Featuring specially commissioned works from major graffiti and street art practitioners, it offers you an insider's view of the urban landscape as the artists themselves experience it. Organized geographically, by continent and by city - from New York,Los Angeles and Montreal in North America, through Mexico City and Buenos Aires in Latin America, to London, Berlin and Madrid in Europe, as well as Sydney and Tokyo in the Pacific - it profiles more than 100 of today's most important artists and features over 700 astonishing artworks.

Over the last forty years, graffiti and street-art have become a global phenomenon within the visual arts. Whilst they have increasingly been taken seriously by the art establishment (or perhaps the art market), their academic and popular examination still remains within old debates which argue over whether these acts are vandalism or art, and which examine the role of graffiti in gang culture and in terms of visual pollution. Based on an in-depth ethnographic study working with some of the world’s most influential Independent Public Artists, this book takes a completely new approach. Placing these illicit aesthetic practices within a broader historical, political, and aesthetic context, it argues that they are in fact both intrinsically ornamental (working within a classic architectonic framework), as well as innately ordered (within a highly ritualized, performative structure). Rather than disharmonic, destructive forms, rather than ones solely working within the dynamics of the market, these insurgent images are seen to reface rather than deface the city, operating within a modality of contemporary civic ritual. The book is divided into two main sections, Ornament and Order. Ornament focuses upon the physical artifacts themselves, the various meanings these public artists ascribe to their images as well as the tensions and communicative schemata emerging out of their material form. Using two very different understandings of political action, it places these illicit icons within the wider theoretical debate over the public sphere that they materially re-present. Order is focused more closely on the ephemeral trace of these spatial acts, the explicitly performative, practice-based elements of their aesthetic production. Exploring thematics such as carnival and play, risk and creativity, it tracks how the very residue of this cultural production structures and shapes the socio-ethico guidelines of these artists’ lifeworlds.

Rafael Schacter

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