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"Since the 2011 Arab Spring street art has been a vehicle for political discourse in the Middle East, and has generated much discussion in both the popular media and academia. Yet, this conversation has generalised street art and identified it as a singular form with identical styles and objectives throughout the region. Street art's purpose is, however, defined by the socio-cultural circumstances of its production. Middle Eastern artists thus adopt distinctive methods in creating their individual work and responding to their individual environments. Here, in this new book, Sabrina De Turk employs rigorous visual analysis to explore the diversity of Middle Eastern street art and uses case studies of countries as varied as Egypt, Tunisia, Lebanon, Palestine, Bahrain and Oman to illustrate how geographic specifics impact upon its function and aesthetic. Her book will be of significant interest to scholars specialising in art from the Middle East and North Africa and those who bring an interdisciplinary perspective to Middle East studies."--Bloomsbury Publishing.

Arab Spring, 2010 --- -Street art

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Visual Vitriol: The Street Art and Subcultures of the Punk and Hardcore Generation is a vibrant, in-depth, and visually appealing history of punk, which reveals punk concert flyers as urban folk art. David Ensminger exposes the movement's deeply participatory street art, including flyers, stencils, and graffiti. This discovery leads him to an examination of the often-overlooked presence of African Americans, Latinos, women, and gays and lesbians who have widely impacted the worldviews and music of this subculture.

Street art --- Punk culture and art. --- Themes, motives.

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"Less than a year after the end of authoritarian rule in 1998, huge images of Jesus Christ and other Christian scenes proliferated on walls and billboards around a provincial town in eastern Indonesia where conflict had arisen between Muslims and Christians. A manifestation of the extreme perception that emerged amid uncertainty and the challenge to seeing brought on by urban warfare, the street paintings erected by Protestant motorbike-taxi drivers signaled a radical departure from the aniconic tradition of the old colonial church, a desire to be seen and recognized by political authorities from Jakarta to the UN and European Union, an aim to reinstate the Christian look of a city in the face of the country's widespread islamicization, and an opening to a more intimate relationship to the divine through the bringing-into-vision of the Christian god. Stridently assertive, these affectively charged mediations of religion, masculinity, Christian privilege and subjectivity are among the myriad ephemera of war, from rumors, graffiti, incendiary pamphlets, and Video CDs, to Peace Provocateur text-messages and children's reconciliation drawings. Orphaned Landscapes theorizes the production of monumental street art and other visual media as part of a wider work on appearance in which ordinary people, wittingly or unwittingly, refigure the aesthetic forms and sensory environment of their urban surroundings. The book offers a rich, nuanced account of a place in crisis, while also showing how the work on appearance, far from epiphenomenal, is inherent to sociopolitical change. Whether considering the emergence and disappearance of street art or the atmospherics and fog of war, Spyer demonstrates the importance of an attunement to elusive, ephemeral phenomena for their palpable and varying effects in the world"--

Christian art and symbolism --- Christianity and art --- Christianity --- Social conflict --- Street art --- Violence --- Visual communication --- Political aspects --- Social aspects --- Indonesia --- Ambon (Indonesia) --- Politics and government --- Social conditions. --- Religion. --- Indonesia. --- appearance. --- ephemera. --- images. --- materiality. --- mediation. --- religion. --- street art. --- violence. --- visuality.

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Based on field research conducted by the author in 2008, the book consists of a careful examination of graffiti written on both the Palestinian and Israeli sides of the Israel-built "separation wall"; and interviews with people about the graffiti. This shows how different sides of the conflict view the conflict itself and details the various ways that graffiti can represent political strife.

Graffiti -- Political aspects -- Israel. --- Graffiti -- Political aspects -- Palestine. --- Graffiti -- Political aspects -- West Bank. --- Graffiti --- Anthropology --- Social Sciences --- Manners & Customs --- Graffiti culture --- Folklore --- Inscriptions --- Street art --- Political aspects

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D*Face has been a leading figure in urban art for well over a decade. A contemporary of Banksy, he is at the forefront of the urban art movement, and has had a constant presence throughout its meteoric rise into popular culture.This long-awaited monograph shows the development of his career as an artist to date, encompassing his continuing street work, and the path that led him from the early beginnings of the street art genre to multiple sell-out solo exhibitions around the world. Containing previously unseen images of his working processes and studio, as well as firsthand anecdotes, and the

Street art. --- Art, Street --- Art, Wall --- Wall art --- Art and society --- Mural painting and decoration --- Performance art --- Politics in art --- Graffiti --- D*Face. --- Stockton, Dean --- DFace