Included are discussions of both monumental church windows
and smaller-scale stained-glass panels made for cloisters, civic buildings,
residences, and private chapels. The subjects of these rarely seen drawings and
panels range from religious topics to secular themes, including love, planets,
hunts, and battles.
Focusing on stained glass produced in Germany and
Switzerland from about 1495 to 1530, Painting
on Light includes drawings by Dürer, Holbein, Albrecht Altdorfer, Hans
Baldung Grien, Jörg Breu the Elder, Hans Burgkmair, Urs Graf, Hans von
Kulmbach, Hans Leu the Younger, Niklaus Manuel Deutsch, Hans Schäufelein, Hans
Weiditz, and others. This informative book is published in conjunction with an
exhibition at the Getty Museum from July 11 through September 24, 2000, and
from November 7, 2000, to January 4, 2001, at the Saint Louis Art Museum.
Jean-Michel Basquiat: A Biography covers the artist's Brooklyn childhood, his teenage years as a homeless graffiti painter, and his rise through the art world. Along with a discussion of his life and work, including his use of Afrocentric themes, the book offers background on related contemporary art movements. Special attention is given to Basquiat's friendship with Keith Haring and collaborations with Andy Warhol. The book also explores Basquiat's difficult relations with gallery owners and other authority figures, his problems with drug use, and his early death. A final chapter covers his continuing relevance and ongoing influence.
But as famous as Banksy is, he is also utterly unknown—he conceals his real name, hides his face, distorts his voice, and reveals his identity to only a select few. Who is this man that has captivated millions? How did a graffiti artist from Bristol, England, find himself at the center of an artistic movement? How has someone who goes to such great lengths to keep himself hidden achieved such great notoriety? And is his anonymity a necessity to continue his vandalism—or a marketing tool to make him ever more famous?
Now, in the first ever full-scale investigation of the artist, reporter Will Ellsworth-Jones pieces together the story of Banksy, building up a picture of the man and the world in which he operates. He talks to his friends and enemies, those who knew him in his early, unnoticed days, and those who have watched him try to come to terms with his newfound fame and success. And he explores the contradictions of a champion of renegade art going to greater and greater lengths to control his image and his work.
Banksy offers a revealing glimpse at an enigmatic figure and a riveting account of how a self-professed vandal became an international icon—and turned the art world upside down in the process.
Bridging the fields
of conservation, art history, and museum curating, this volume contains the
principal papers from an international symposium titled "Historical
Painting Techniques, Materials, and Studio Practice" at the University of
Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The
symposium—designed for art historians, conservators, conservation scientists,
and museum curators worldwide—was organized by the Department of Art History at
the University of Leiden and the Art History Department of the Central Research
Laboratory for Objects of Art and Science in Amsterdam.
Twenty-five contributors representing
museums and conservation institutions throughout the world provide recent
research on historical painting techniques, including wall painting and
polychrome sculpture. Topics cover the latest art historical research and
scientific analyses of original techniques and materials, as well as historical
sources, such as medieval treatises and descriptions of painting techniques in
historical literature. Chapters include the painting methods of Rembrandt and
Vermeer, Dutch 17th-century landscape painting, wall paintings in English
churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color
plates and black-and-white photographs illustrate works from the Middle Ages to
the 20th century.
. Can2 - Munich
. Bates - Copenhagen
. Banksy - London
. Loomit - Germany
. CES?- The Bronx, New York
. Os Gemeos - Sao Paolo
. Sento - Hawaii
. T-Kid - The Bronx, New York
The original book, Graff, put you in touch with your creative style. Graff 2 is here to help you find your creative soul. Is it wildstyle or bubble letters? Flat or three-dimensional? Black and white or full color?
Delving deeper into the elements covered in his first book, graffiti artist Scape Martinez brings you into his world, sharing his approach to letters, color and design. From working it out with paper and pens to working large (and legally) on walls, Graff 2 reveals the nuts and bolts of graffiti style along with ideas and techniques for bringing those styles to life.Preparation, technique, expression and meaning 5 full-scale demonstrations show the creation of wall pieces from start to finish Heavily illustrated with examples and step-by-step instruction throughout Includes an expanded glossary of graffiti terms not covered in the first book Artists and fans alike will appreciate this rare inside perspective on graffiti art. Take it to your wall. You have something to say. Put it out there for the world to see.
1,000 Ideas for Graffiti and Street Art is a showcase of urban art suitable for artists of any medium, designers, and other creative artists looking for urban-style inspiration for their visual work. A visual catalog, it is both a practical, inspirational handbook and a coffee-table conversation piece. Graffiti and street artistsâ€”rebellious and non-rebellious alikeâ€”will relish the opportunity to have so many ideas for color play, illustration, and wild expressions at their fingertips.Inside youâ€™ll find: -1,000 photographs of graffiti and other types of urban art, with captions that feature location (city, state, country) artist name (if known). -Artwork sorted into categories such as letterforms, stencils, portraits, murals, nature, tags, throw-ups, pieces, and productions -Urban art glossary, basic aerosol painting and street art techniques, and more
In this hot-off-the-streets book, Scape Martinez shows you how to use color to bring beauty, meaning and life to graffiti art. To shout, shock and sing. To push the boundaries of art and communicate in a way that letter structure alone cannot. By example, you'll learn how to connect your own color choices in a meaningful way, making your art both deeply personal and highly effective.Check out Scape's improvisational creative process as he creates 12 works (his "personal cave paintings") on concrete and canvas, step by step, from concept to completion. Instruction and exercises help you choose the colors that work for you and your artwork, find your distinct voice, and keep it real. Dig into Scape's bag of tricks for creating a site-specific piece, mixing conventional can techniques with traditional acrylic painting skills, exploring transparent letters and letter abstraction, working with monochromatic color schemes, turning letters inside out, and lots more. It's time to let go of old graffiti truths, like the idea of mandatory black outline and static fill-ins. The new aesthetic urges you to take creative risks. Combine expressive letter styles with wild and intense color schemes that transform, roll and change throughout your piece. Improvise on the spot. Drive it to the next level!
J. Paul Getty began collecting Old
Master paintings in the 1930s. He founded his Malibu museum in the early 1950s
and continued to contribute to its collections until his death. As he left the
museum generously endowed, major works of art have continued to be acquired.
Mr. Getty’s personal preferences
inclined toward Renaissance and Baroque painting of the Italian and
Netherlandish schools, with some excursions into the art movements of the
eighteenth and nineteenth centuries. The masterpieces reproduced here show the
care which he and the museum trustees have devoted to the formation of a new
The J. Paul Getty Museum’s new
building was opened to the public in January 1974. It is a replica of the Villa
dei Papiri excavated at Herculaneum and provides a spectacular setting for the
collection of classical antiquities. The paintings collection is housed in more
conventional galleries on the second floor.
The graffiti scene in China is small and the best work is confined to semi-sanctioned areas, often set in rusting industrial areas. For the small size of the scene, a huge amount of incredible art packs these tiny plots of land.
The photos in this book were taken between Spring of 2013 and Spring of 2014.
All of the photos in Beijing were taken in and around 798 Art Zone in the Chaoyang District of the city. This spot of refurbished military factories has been transformed into an arts district that contains many art galleries, studios, shops and schools.
The photos in the Shanghai set were taken in the 50 Moganshan Lu area near Suzhou Creek. This area used to be home to many factories and warehouses that have since been converted to art galleries, studios and cafes. The graffiti wall pictured has since been demolished to make way for a business district.
An art form often associated with male creative endeavors, muralism in fact reflects significant contributions by Chicana artists. Encompassing these and other aspects of contemporary dialogues, including the often tense relationship between graffiti and muralism, Walls of Empowerment is a comprehensive study that, unlike many previous endeavors, does not privilege non-public Latina/o art. In addition, Latorre introduces readers to the role of new media, including performance, sculpture, and digital technology, in shaping the muralist's "canvas."
Drawing on nearly a decade of fieldwork, this timely endeavor highlights the ways in which California's Mexican American communities have used images of indigenous peoples to raise awareness of the region's original citizens. Latorre also casts murals as a radical force for decolonization and liberation, and she provides a stirring description of the decades, particularly the late 1960s through 1980s, that saw California's rise as the epicenter of mural production. Blending the perspectives of art history and sociology with firsthand accounts drawn from artists' interviews, Walls of Empowerment represents a crucial turning point in the study of these iconographic artifacts.
Getty Museum's collection of drawings was begun in 1981 with the purchase of a
Rembrandt nude and has since become an important repository of European works from
the fifteenth through the nineteenth century. As in the first volume devoted to
the collection (published in 1988 in English and Italian editions), the text is
organized first by national school, then alphabetically by artist, with
individual works arranged chronologically.
Kevin Coval is the author of Schtick, L-vis Lives, the American Library Association "Book of the Year" Finalist Slingshots: A Hip-Hop Poetica, and an editor of The BreakBeat Poets.
Idris Goodwin is a playwright, spoken-word performer, and essayist recognized across mediums by the National Endowment for the Arts, the Ford Foundation, and the Mellon Foundation.
The book’s analysis and categorization of visual and popular culture pursues discourses and practices which mark different historical eras and shape social orders. Because popular iconic and written productions are the outcome of a network of political, economic, ideological and social circumstances that are often hardly detectable and too taken for granted to be critically recognized, even by those who draw, paint or write (and live) under their influence. That is why visual figurations of popular culture should be studied as the support of a deeply motivated symbolic discourse on the values shared by a community.
This book deals, in a way or another, with how popular and visual artefacts and sceneries are socially built, preserved and/or contested. The volume brings together, not only different disciplinary perspectives, but also diverse empirical phenomena, while approaching the wide subject of visuality and popular culture.
Just like their neighbors throughout the eastern and southern Mediterranean, Mesopotamia, Arabia, and Egypt, ancient Jews scribbled and drew graffiti everyplace--in and around markets, hippodromes, theaters, pagan temples, open cliffs, sanctuaries, and even inside burial caves and synagogues. Karen Stern reveals what these markings tell us about the men and women who made them, people whose lives, beliefs, and behaviors eluded commemoration in grand literary and architectural works. Making compelling analogies with modern graffiti practices, she documents the overlooked connections between Jews and their neighbors, showing how popular Jewish practices of prayer, mortuary commemoration, commerce, and civic engagement regularly crossed ethnic and religious boundaries.
Illustrated throughout with examples of ancient graffiti, Writing on the Wall provides a tantalizingly intimate glimpse into the cultural worlds of forgotten populations living at the crossroads of Judaism, Christianity, paganism, and earliest Islam.
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.