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Synopsis
Features a survey of street art, introducing various artists including Miss Van, Faile, Heavyweight and Kid Acne. This work provides photos, interviews, and quotes from protagonists from around the world.
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Customer Reviews
Most Helpful Customer Reviews
1 of 1 people found the following review helpful
Street Art is like street furniture. Love it or hate it, it's here to stay. People have been daubing walls with paint since neolithic times and the prevalence of books such as this suggests that things are not about to change in a hurry. Which begs the question, why? Is it rebellion? Is it even art?
I have a theory about 'Street Art' (TM) and it involves three distinct yet interdependent groups of people. Firstly, there are the pioneers or outlaws, who go out there and do stuff, just like the artists/actvists featured in this book. Then secondly there are the chroniclers, who make their living following such people around the world, photographing them at work and play, then putting all of their pretty pictures into nicely presented hardback coffee-table books for the third group of people. Some of this third group, the consumers, are frustrated artists themselves, either too scared or too old to go globetrotting, but they can get their thrills vicariously and legally just like me by buying these kinds of books instead. Some consumers work in the so-called 'creative' industries and feed off the artists' ideas, thereby perpetuating the very culture that street artists are rebelling against. So it goes.
Of course, in reality things are a little more complicated than that. Some people are creatives by day and use the wealth they create for themselves to fund a second, more personally meaningful job by night, such as being an outlaw. Some advertisers by day become subvertisers by night. So it goes.
One of modern life's ironies is that far from changing anything, the popularity of 'Street Art' (TM) has brought it into the mainstream, repositioning its supposed 'rebelliousness' at the cutting edge of capitalist consumer culture. If you don't believe me, read The Rebel Sell: How the Counter Culture Became Consumer Culture. 'Street Art' (TM), once a grass-roots movement as subversive and controversial as the 'black bloc', has simply become the new black, moving off the streets and into galleries. In doing so it has been so effectively co-opted that each new act of 'rebellion' serves only to create yet another product to be repackaged and sold on to new consumers eager to become vicarious outlaws.
If you are satisfied being a consumer, then buy this book for fun and you will get what you pay for. If you want to be a chronicler, consider buying a digital camera and a round-the-world ticket instead. More expensive, but a lot more fun. If you want to be an outlaw, forget about the book altogether. Get yourself a stanley knife, some cardboard and a spray can, cut some stencils, get out on the streets and watch out for the cops. Just don't kid yourself that what you are doing has anything to do with rebellion.
I have a theory about 'Street Art' (TM) and it involves three distinct yet interdependent groups of people. Firstly, there are the pioneers or outlaws, who go out there and do stuff, just like the artists/actvists featured in this book. Then secondly there are the chroniclers, who make their living following such people around the world, photographing them at work and play, then putting all of their pretty pictures into nicely presented hardback coffee-table books for the third group of people. Some of this third group, the consumers, are frustrated artists themselves, either too scared or too old to go globetrotting, but they can get their thrills vicariously and legally just like me by buying these kinds of books instead. Some consumers work in the so-called 'creative' industries and feed off the artists' ideas, thereby perpetuating the very culture that street artists are rebelling against. So it goes.
Of course, in reality things are a little more complicated than that. Some people are creatives by day and use the wealth they create for themselves to fund a second, more personally meaningful job by night, such as being an outlaw. Some advertisers by day become subvertisers by night. So it goes.
One of modern life's ironies is that far from changing anything, the popularity of 'Street Art' (TM) has brought it into the mainstream, repositioning its supposed 'rebelliousness' at the cutting edge of capitalist consumer culture. If you don't believe me, read The Rebel Sell: How the Counter Culture Became Consumer Culture. 'Street Art' (TM), once a grass-roots movement as subversive and controversial as the 'black bloc', has simply become the new black, moving off the streets and into galleries. In doing so it has been so effectively co-opted that each new act of 'rebellion' serves only to create yet another product to be repackaged and sold on to new consumers eager to become vicarious outlaws.
If you are satisfied being a consumer, then buy this book for fun and you will get what you pay for. If you want to be a chronicler, consider buying a digital camera and a round-the-world ticket instead. More expensive, but a lot more fun. If you want to be an outlaw, forget about the book altogether. Get yourself a stanley knife, some cardboard and a spray can, cut some stencils, get out on the streets and watch out for the cops. Just don't kid yourself that what you are doing has anything to do with rebellion.
This is a great book and is jam packed with pictures which is really the way it should be. Tit bits of info are also in here. I would have preferred it if it was the same format as the first book but that is a very minor comment really. Recommended.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
1 review
0 of 12 people found the following review helpful
Great guerrilla
23 Jan 2007
it is a great book to check what is going on in the street
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