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9 books match the query 'Graffiti & Street Art'
A War of Colors
Graffiti and Street Art in Postwar BeirutNadine A. Sinno
University of Texas Press, 2024
Demonstrates the role of Beirut’s postwar graffiti and street art in transforming the cityscape and animating resistance.
Over the last two decades in Beirut, graffiti makers have engaged in a fierce “war of colors,” seeking to disrupt and transform the city’s physical and social spaces. In A War of Colors, Nadine Sinno examines how graffiti and street art have been used in postwar Beirut to comment on the rapidly changing social dynamics of the country and region. Analyzing how graffiti makers can reclaim and transform cityscapes that were damaged or monopolized by militias during the war, Sinno explores graffiti’s other roles, including forging civic engagement, commemorating cultural icons, protesting political corruption and environmental violence, and animating resistance. In addition, she argues that graffiti making can offer voices to those who are often marginalized, especially women and LGBTQ people. Copiously illustrated with images of graffiti and street art, A War of Colors is a visually captivating and thought-provoking journey through Beirut, where local and global discourses intersect on both scarred and polished walls in the city.
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At the Corner of a Dream
A Journey of Resistance and Revolution: The Street Art of Bahia ShehabBahia Shehab
Gingko, 2019
Working with stylized typographic and calligraphic forms, Egyptian-Lebanese street artist Bahia Shehab brings creative presentations of language and culture to public spaces around the world. During the Egyptian revolution of 2011, she began taking to the streets to paint. Starting in Cairo, Shehab began creating large-scale public art as a form of resistance against military rule and violence. With her spray can in hand, this artist, designer, and historian set out to spread beautiful and empowering images in the face of tumultuous times. Now she has taken her peaceful resistance to the streets of the world, creating works in cities from New York to Tokyo, Amsterdam, and Honolulu. Engaging with identity and the preservation of cultural heritage, Shehab creates work that investigates Islamic art history and reinterprets contemporary Arab politics, feminist discourse, and social issues. Internationally renowned, Shehab’s work has been on display in exhibitions, galleries, and city streets across the world and has earned her a number of international recognitions and awards, including the BBC 100 Women list, TED Senior fellowship, and a Prince Claus Award. In 2016, she became the first Arab woman to receive the UNESCO-Sharjah Prize for Arab Culture.
At the Corner of a Dream offers extensive documentation of Shehab’s powerful street paintings. It also chronicles the stories of the people she meets along her journeys and includes her observations from the streets of each new city she visits. Shehab’s work is a manifesto, a cry for freedom and dignity, and a call to never stop dreaming.
At the Corner of a Dream offers extensive documentation of Shehab’s powerful street paintings. It also chronicles the stories of the people she meets along her journeys and includes her observations from the streets of each new city she visits. Shehab’s work is a manifesto, a cry for freedom and dignity, and a call to never stop dreaming.
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Cities Beyond Crisis
Race, Affect, and Urban Culture in Twenty-First-Century IberiaCatalina Iannone
Vanderbilt University Press, 2025
This book is freely available in an open-access edition thanks to the generous support of The Ohio State University Libraries.
In Cities Beyond Crisis, Catalina Iannone studies the rapid evolution of Iberian urban centers in the years following the 2008 financial crisis, identifying how this event catalyzed a protracted period of unraveling and reorganization in the region. Arguing that the affects and effects of the crisis are best understood when embedded within local environments, Cities Beyond Crisis focuses on how textual, visual, and spatial interventions both drove and contested change in two racially diverse, historically marginalized neighborhoods in the capital cities of Spain and Portugal—Madrid’s Lavapiés and Lisbon’s Mouraria. Through a critical examination of the narratives shaping public perception of these spaces, whether promoting their development and consumption or challenging market-oriented trends, Iannone demonstrates how the stories that stakeholders across the ideological spectrum told about these districts illuminate enduring attachments and aspirations in each nation’s relationship to race. By approaching the study of space as a contested and contingent social product, this book takes an interdisciplinary approach, drawing from both humanistic and social science theories and practices to show how cultural production shapes and is shaped by the built environment.
In Cities Beyond Crisis, Catalina Iannone studies the rapid evolution of Iberian urban centers in the years following the 2008 financial crisis, identifying how this event catalyzed a protracted period of unraveling and reorganization in the region. Arguing that the affects and effects of the crisis are best understood when embedded within local environments, Cities Beyond Crisis focuses on how textual, visual, and spatial interventions both drove and contested change in two racially diverse, historically marginalized neighborhoods in the capital cities of Spain and Portugal—Madrid’s Lavapiés and Lisbon’s Mouraria. Through a critical examination of the narratives shaping public perception of these spaces, whether promoting their development and consumption or challenging market-oriented trends, Iannone demonstrates how the stories that stakeholders across the ideological spectrum told about these districts illuminate enduring attachments and aspirations in each nation’s relationship to race. By approaching the study of space as a contested and contingent social product, this book takes an interdisciplinary approach, drawing from both humanistic and social science theories and practices to show how cultural production shapes and is shaped by the built environment.
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Conflict Graffiti
From Revolution to GentrificationJohn Lennon
University of Chicago Press, 2021
This study examines the waves of graffiti that occur before, during, and after a conflict—important tools of political resistance that make protest visible and material.
Graffiti makes for messy politics. In film and television, it is often used to create a sense of danger or lawlessness. In bathroom stalls, it is the disembodied expression of gossip, lewdness, or confession. But it is also a resistive tool of protest, making visible the disparate voices and interests that come together to make a movement.
In Conflict Graffiti, John Lennon dives into the many permutations of graffiti in conflict zones—ranging from the protest graffiti of the Black Lives Matter movement in Ferguson and the Tahrir Square demonstrations in Egypt, to the tourist-attraction murals on the Israeli Separation Wall and the street art that has rebranded Detroit and post-Katrina New Orleans. Graffiti has played a crucial role in the revolutionary movements of these locales, but as the conflict subsides a new graffiti and street art scene emerges—often one that ushers in postconflict consumerism, gentrification, militarization, and anesthetized forgetting.
Graffiti has an unstable afterlife, fated to be added to, transformed, overlaid, photographed, reinterpreted, or painted over. But as Lennon concludes, when protest movements change and adapt, graffiti is also uniquely suited to shapeshift with them.
Graffiti makes for messy politics. In film and television, it is often used to create a sense of danger or lawlessness. In bathroom stalls, it is the disembodied expression of gossip, lewdness, or confession. But it is also a resistive tool of protest, making visible the disparate voices and interests that come together to make a movement.
In Conflict Graffiti, John Lennon dives into the many permutations of graffiti in conflict zones—ranging from the protest graffiti of the Black Lives Matter movement in Ferguson and the Tahrir Square demonstrations in Egypt, to the tourist-attraction murals on the Israeli Separation Wall and the street art that has rebranded Detroit and post-Katrina New Orleans. Graffiti has played a crucial role in the revolutionary movements of these locales, but as the conflict subsides a new graffiti and street art scene emerges—often one that ushers in postconflict consumerism, gentrification, militarization, and anesthetized forgetting.
Graffiti has an unstable afterlife, fated to be added to, transformed, overlaid, photographed, reinterpreted, or painted over. But as Lennon concludes, when protest movements change and adapt, graffiti is also uniquely suited to shapeshift with them.
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Democracy on the Wall
Street Art of the Post-Dictatorship Era in ChileGuisela Latorre
The Ohio State University Press, 2019
Guisela Latorre’s Democracy on the Wall: Street Art of the Post-Dictatorship Era in Chile documents and critically deconstructs the explosion of street art that emerged in Chile after the dictatorship of Augusto Pinochet, providing the first broad analysis of the visual vocabulary of Chile’s murals and graffiti while addressing the historical, social, and political context for this public art in Chile post-1990.
Exploring the resurgence and impact of the muralist brigades, women graffiti artists, the phenomenon of “open-sky museums,” and the transnational impact on the development of Chilean street art, Latorre argues that mural and graffiti artists are enacting a “visual democracy,” a form of artistic praxis that seeks to create alternative images to those produced by institutions of power. Keenly aware of Latin America’s colonial legacy and deeply flawed democratic processes, and distrustful of hegemonic discourses promoted by government and corporate media, the artists in Democracy on the Wall utilize graffiti and muralism as an alternative means of public communication, one that does not serve capitalist or nationalist interests. Latorre posits that through these urban interventions that combine creativity with social action, Chilean street artists formulate visions of what a true democracy looks like.
Exploring the resurgence and impact of the muralist brigades, women graffiti artists, the phenomenon of “open-sky museums,” and the transnational impact on the development of Chilean street art, Latorre argues that mural and graffiti artists are enacting a “visual democracy,” a form of artistic praxis that seeks to create alternative images to those produced by institutions of power. Keenly aware of Latin America’s colonial legacy and deeply flawed democratic processes, and distrustful of hegemonic discourses promoted by government and corporate media, the artists in Democracy on the Wall utilize graffiti and muralism as an alternative means of public communication, one that does not serve capitalist or nationalist interests. Latorre posits that through these urban interventions that combine creativity with social action, Chilean street artists formulate visions of what a true democracy looks like.
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Going All City
Struggle and Survival in LA's Graffiti SubcultureStefano Bloch
University of Chicago Press, 2019
“We could have been called a lot of things: brazen vandals, scared kids, threats to social order, self-obsessed egomaniacs, marginalized youth, outsider artists, trend setters, and thrill seekers. But, to me, we were just regular kids growing up hard in America and making the city our own. Being ‘writers’ gave us something to live for and ‘going all city’ gave us something to strive for; and for some of my friends it was something to die for.”
In the age of commissioned wall murals and trendy street art, it’s easy to forget graffiti’s complicated and often violent past in the United States. Though graffiti has become one of the most influential art forms of the twenty-first century, cities across the United States waged a war against it from the late 1970s to the early 2000s, complete with brutal police task forces. Who were the vilified taggers they targeted? Teenagers, usually, from low-income neighborhoods with little to their names except a few spray cans and a desperate need to be seen—to mark their presence on city walls and buildings even as their cities turned a blind eye to them.
Going All City is the mesmerizing and painful story of these young graffiti writers, told by one of their own. Prolific LA writer Stefano Bloch came of age in the late 1990s amid constant violence, poverty, and vulnerability. He recounts vicious interactions with police; debating whether to take friends with gunshot wounds to the hospital; coping with his mother’s heroin addiction; instability and homelessness; and his dread that his stepfather would get out of jail and tip his unstable life into full-blown chaos. But he also recalls moments of peace and exhilaration: marking a fresh tag; the thrill of running with his crew at night; exploring the secret landscape of LA; the dream and success of going all city.
Bloch holds nothing back in this fierce, poignant memoir. Going All City is an unflinching portrait of a deeply maligned subculture and an unforgettable account of what writing on city walls means to the most vulnerable people living within them.
In the age of commissioned wall murals and trendy street art, it’s easy to forget graffiti’s complicated and often violent past in the United States. Though graffiti has become one of the most influential art forms of the twenty-first century, cities across the United States waged a war against it from the late 1970s to the early 2000s, complete with brutal police task forces. Who were the vilified taggers they targeted? Teenagers, usually, from low-income neighborhoods with little to their names except a few spray cans and a desperate need to be seen—to mark their presence on city walls and buildings even as their cities turned a blind eye to them.
Going All City is the mesmerizing and painful story of these young graffiti writers, told by one of their own. Prolific LA writer Stefano Bloch came of age in the late 1990s amid constant violence, poverty, and vulnerability. He recounts vicious interactions with police; debating whether to take friends with gunshot wounds to the hospital; coping with his mother’s heroin addiction; instability and homelessness; and his dread that his stepfather would get out of jail and tip his unstable life into full-blown chaos. But he also recalls moments of peace and exhilaration: marking a fresh tag; the thrill of running with his crew at night; exploring the secret landscape of LA; the dream and success of going all city.
Bloch holds nothing back in this fierce, poignant memoir. Going All City is an unflinching portrait of a deeply maligned subculture and an unforgettable account of what writing on city walls means to the most vulnerable people living within them.
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Kartoon Kings
The Graphic Work of Simon Grennan and Christopher SperandioPaul Krainak
West Virginia University Press, 2007
Kartoon Kings is the first monographic and comprehensive analysis of the graphic artwork of Simon Grennan and Christopher Sperandio. This work showcases a collection of full-color images excerpted from comic book projects, videos, billboards, and more of the artists’ collaborative public contributions created over the past fifteen years. To supplement the images an interview with the artists by Kristina Olson is included, along with essays by Joshua Decter and Paul Krainak. Grennan and Sperandio work together by conspiring about their creative ideas on the Internet. Their teamwork must be done this way because Grennan lives in England, while Sperandio lives in the United States.
More of Sperandio and Grennan’s work can be seen at www.kartoonkings.com.
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Metagraffiti
Graffiti Art and the Urban Image in Latin AmericaChandra Morrison Ariyo
Rutgers University Press, 2025
Focusing on graffiti scenes from São Paulo and Santiago in Chile, this innovative visual ethnography examines diverse forms of self-reference and metareference that appear in Latin American graffiti art. Chandra Morrison Ariyo works across multiple scales of contemporary graffiti production—from tags to massive murals—to show how painting the city enables individuals to reimagine their own position within the material and social structures around them. Metagraffitti reveals how practitioners such as Tinho, OSGEMEOS, Grin, and Bisy use metagraffiti features to influence public perceptions about this art form and its effect on the urban environment. Ultimately, Metagraffiti proposes a novel conceptual framework that highlights graffiti’s ability to forge alternative forms of movement, sociality, and value within Latin American cityscapes. These urban images invite us to imagine what the city could be, when seen as a site for action and imagination.
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You Can Crush the Flowers
A Visual Memoir of the Egyptian RevolutionBahia Shehab
Gingko, 2021
Part visual history, part memoir, You Can Crush the Flowers is a chronicle of the 2011 Egyptian Revolution and its aftermath, as it manifested itself not only in the art on the streets of Cairo but also through the wider visual culture that emerged during the revolution. Marking the ten-year anniversary of the revolution, celebrated Egyptian-Lebanese artist Bahia Shehab tells the stories that inspired both her own artwork and the work of her fellow revolutionaries. Shehab narrates the events of the revolution as they unfolded, describing on one hand the tactics deployed by the regime to drive protesters from the street—from the use of tear gas and snipers to brute force, intimidation techniques, and virginity tests—and on the other hand the retaliation by the protesters online and on the street in marches, chants, street art, and memes. Throughout this powerful and moving account, which includes over one hundred images, Shehab responds to all these aspects of the revolution as both artist and activist. The result bears witness to the brutality of the regime and pays tribute to the protestors who bravely defied it.
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