This is a comprehensive update of the first edition with more that 20 new artists and events and 60 more pages. The format has been changed to A-Z making the book the definitive guide to Bristol graffiti and street art. Includes exclusive images from the show Banksy vs Bristol Museum.

An exploration of the Bristol street art scene from the early 80s onwards.

George loves Sylvia and Sylvia loves George but neither of them is able to tell each other how they feel. George thinks he is too big and too fat for Sylvia and Sylvia believes she is too small and skinny for George.

For someone who shuns the limelight so completely that he conceals his name, never shows his face and gives interviews only by email, Banksy is remarkably famous. From his beginnings as a Bristol graffiti artist, his artwork is now sold at auction for six-figure sums and hangs on celebrities’ walls. The appearance of a new Banksy is national news, his documentary Exit Through the Gift Shop was Oscar-nominated and people queue for hours to see his latest exhibition. Now more National Treasure than edgy outsider, who is Banksy and how did he become what he is today? In the first attempt to tell the full story of Banksy’s life and career, Will Ellsworth-Jones pieces together a picture of his world and unpicks its contradictions. Whether art or vandalism, anti-establishment or sell-out, Banksy and his work have become a cultural phenomenon and the question ‘Who is Banksy?’ is as much about his career as it is ‘the man behind the wall’. 'Britain's unlikeliest national treasure' Independent ‘A fascinating portrait that elicits admiration for a man who, despite his increasingly unconvincing efforts to retain some shred of his vandal status, has had an undeniable impact on art’ The Times

“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.

From Paris to L.A., London to Bergen, Sao Paulo to Vienna, and many more, no one has quite captured the strangeness, heroism, frustration or surreal quality of the coronavirus pandemic quite like the world's street artists. This brilliant small volume features the best examples: heroic nurses, lovers refusing to let COVID cool their passion, strange edicts from government, presidential recommendations featuring disinfectant, feelings of entrapment and longing for freedom... These artworks aren't just a fantastic take on the pandemic, but really capture the whole range of emotions that the world has lived through. Fine art isn't up to the task of defining this era. Street artists have taken on that mantle and have done it brilliantly.

This book explores how copyright laws are perceived within street art and graffiti subcultures to examine how artists and writers view certain creative aspects of their own practice. Drawing on ethnographic research and fieldwork, the book gives voice to the main actors of these communities and highlights their feelings and opinions toward issues that are increasingly impacting their everyday life and work. It also touches on related and complementary issues, such as the 'gallerisation' or economic exploitation of these forms of art and the curious similarities between the graffiti and advertising worlds. Unique and comprehensive, Copyright on the Street brings the 'voice from the street' into the debate over the legal and non-legal protection of street art and graffiti.