Stencil graffiti is sweeping the globe. This phenomenon has found its heart in Melbourne, Australia. No other city boasts such quantity and quality of stencil art. This is the first book to explore the city's though provoking, visually rich stencil graffiti scene. Over 475 colour images document the beauty and breadth of the work being produced. Featuring work from artists including Meek, Psalm, Sixten, Prism, Meggs, Sync, Phibs, Rone, Banksy and more, this book is essential for anyone with interests in street art, popular culture and design.

In this entirely original collection, stencil maverick Ed Roth presents 25 brand-new stencil designs from retro-cool typewriters, microphones, and roller skates to elegant leaves, birds, and abstract shapes. Ed also offers step-by-step directions for more than 20 wildly creative projects that take stenciling to a whole new level. With the help of creative friends such as Erica Domesek of P.S. - I made this and embroidery queen Jenny Hart, Ed shows how to stencil on just about anything T-shirts, leather, mirrors, food, and even hair using a variety of techniques like stitching, etching, and more.

Widely regarded as the authoritative reference on Australian art with its extensive colour plates and 4500 entries. Fully illustrated with more than 700 images on 1200 pages. Entries include: Aboriginal art, Abstractionism, art links, sculptors, photographers, craft workers and printmakers and much more.

A cutting-edge color art book documenting stencil graffiti's graphic innovation on an international scale.

What is street art? Who is the street artist? Why is street art a crime? Since the late 1990s, a distinctive cultural practice has emerged in many cities: street art, involving the placement of uncommissioned artworks in public places. Sometimes regarded as a variant of graffiti, sometimes called a new art movement, its practitioners engage in illicit activities while at the same time the resulting artworks can command high prices at auction and have become collectable aesthetic commodities. Such paradoxical responses show that street art challenges conventional understandings of culture, law, crime and art. Street Art, Public City: Law, Crime and the Urban Imagination engages with those paradoxes in order to understand how street art reveals new modes of citizenship in the contemporary city. It examines the histories of street art and the motivations of street artists, and the experiences both of making street art and looking at street art in public space. It considers the ways in which street art has become an integral part of the identity of cities such as London, New York, Berlin, and Melbourne, at the same time as street art has become increasingly criminalised. It investigates the implications of street art for conceptions of property and authority, and suggests that street art and the urban imagination can point us towards a different kind of city: the public city. Street Art, Public City will be of interest to readers concerned with art, culture, law, cities and urban space, and also to readers in the fields of legal studies, cultural criminology, urban geography, cultural studies and art more generally.

In recent years, the number of conflicts related to the misuse of street art and graffiti has been on the rise around the world. Some cases involve claims of misappropriation related to corporate advertising campaigns, while others entail the destruction or 'surgical' removal of street art from the walls on which they were created. In this work, Enrico Bonadio brings together a group of experts to provide the first comprehensive analysis of issues related to copyright in street art and graffiti. Chapter authors shed light not only on the legal tools available in thirteen key jurisdictions for street and graffiti artists to object to unauthorized exploitations and unwanted treatments of their works, but also offer policy and sociological insights designed to spur further debate on whether and to what extent the street art and graffiti subcultures can benefit from copyright and moral rights protection.

Graffiti and street art images are ubiquitous, and they enjoy a very special place in collective imaginary due to their ambiguous nature. Sometimes enigmatic in meaning, often stylistically crude and aesthetically aggressive, yet always visually arresting, they fill our field of vision with texts and images that no one can escape. As they take place on surfaces and travel through various channels, they provide viewers an entry point to the subtext of the cities we live in, while questioning how we read, write and represent them. This book is structured around these three distinct, albeit by definition interwoven, key frames. The contributors of this volume critically investigate underexplored urban contexts in which graffiti and street art appear, shed light on previously unexamined aspects of these practices, and introduce innovative methodologies regarding the treatment of these images. Throughout, the focus is on the relationship of graffiti and street art with urban space, and the various manifestations of these idiosyncratic meetings. In this book, the emphasis is shifted from what the physical texts say to what these practices and their produced images do in different contexts. All chapters are original and come from experts in various fields, such as Architecture, Urban Studies, Sociology, Criminology, Anthropology and Visual Cultures, as well as scholars that transcend traditional disciplinary frameworks. This exciting new collection is essential reading for advanced undergraduates as well as postgraduates and academics interested in the subject matter. It is also accessible to a non-academic audience, such as art practitioners and policymakers alike, or anyone keen on deepening their knowledge on how graffiti and street art affect the ways urban environments are experienced, understood and envisioned.