Hardcover: 400 pages
Publisher: Yale University Press (September 3, 2013)
Language: English
ISBN-10: 0300199422
ISBN-13: 978-0300199420
Product Dimensions: 1.5 x 9 x 9.5 inches
Shipping Weight: 3.8 pounds (View shipping rates and policies)
Average Customer Review: 4.5 out of 5 stars See all reviews (36 customer reviews)
Best Sellers Rank: #221,126 in Books (See Top 100 in Books) #45 in Books > Arts & Photography > Other Media > Graffiti & Street Art #187 in Books > Reference > Encyclopedias & Subject Guides > Art #564 in Books > Humor & Entertainment > Pop Culture > Art
From the moment buildings sprouted up from the ground in the formation of the concrete jungles we call cities, there were those who saw the bleak, grey walls as a canvas to express and expose themselves to the public in an unfiltered fashion. From its illicit and illegal beginnings, graffiti and street art has made its way into the protected and profitable world of fine art galleries (a shift that not everyone in the realm is fond of.) Yet the change has not come by way of the quality or effect of the art itself, which was always there, but the understanding of those viewing it. Sometimes it just takes a new set of eyes to appreciate what was there before.The World Atlas of Street Art and Graffiti by Rafael Schacter strives not only to document, organize and illustrate the breadth and wealth of street art in the world, but also to educate the reader. He defines each artist along the way with an encyclopedic litany of fine art terminology, which at times can sound a touch pretentious, but is always done with the utmost sincerity. The book is a gallant effort to prove that these artists are not just taggers and their work is more than urban distraction. It has meaning, it is layered and it has value.Schacter intricately moves across the globe, splitting it into huge geographic sections to display the graffiti cultures and their connected influences. Some artists find their work determined by their surroundings, which may be more desolate or decrepit than others, like Kenor who is quoting as wanting to “decorate the dead cities”, while others see their style more defined by the social and political current running through the area.
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