On a wall of graffiti, blood splatter gets lost... So Graffiti Creek--with its shadowed canopy of trees and evidence-destroying stream and the namesake bridge with its puzzle of spray paint--is not the place mysteries get solved. It's the place where they begin. And Cary Trubody's mystery began there before she even realized she was a part of it. On the way home from a party, Cary gets pulled over for running a red light. Within minutes, a routine traffic stop turns into a nightmare of mistaken identity. After escaping from two crooked detectives, Cary finds herself framed for two murders and still clueless as to why every dirty cop in the city is after her. Elsewhere in the city, Sameer Zardari hasn't seen his husband in days, and his search leads him down the dark pathways of the journalist's latest Quixotic story. And Marlowe Holliverse's brother, Do Right, disappeared while shooting footage for that very story. Both men put themselves on a collision course with Cary, with all of them looking for answers and someone they can trust. That person may be Bright Hudson. Since witnessing the murder of her father at the hands of a dirty cop, Bright has worked her way from a broken hearted little girl to a dogged police detective. And her life's goal is to dismantle the inner-department extortion her father died trying to expose. The key to putting all these puzzle pieces together is Cary. She has the one answer to everyone's question. Unfortunately, she has no idea what that answer might be.

As Lucia Klug tries to make peace with a local bridge where her father died in a truck accident, couples are being harrassed on the bridge and a ghost may be responsible.

This collection of original articles brings together for the first time the research on graffiti from a wide range of geographical and chronological contexts, and shows how they are interpreted in fields as diverse as archaeology, art history, museum studies, and sociology.

In this second book of her trailblazing trilogy, Marsha Meskimmon proposes that decolonial, ecocritical, feminist art’s histories can unravel the anthropocentric legacies of Eurocentric universalism, to create transformative conversations between and across many and more-than-human worlds. Engaging with the ecologies and genealogies – worlds and stories – that constitute the plural knowledge projects of transnational feminisms and art’s transhemispheric histories, the book is written through two critical figurations: transcanons and trans-scalar ecologies. Materializing art’s histories as radical practices of disciplinary disobedience, the volume demonstrates how planetary feminisms can foster interdependent flourishing as they story pluriversal worlds, and world pluriversal stories, with art. This is essential reading for students and researchers in art history, theory and practice, visual culture studies, feminism and gender studies, environmental humanities and cultural geography. The Trilogy:Transnational Feminisms, Transversal Politics and Art: Entanglements and Intersections Transnational Feminisms and Art’s Transhemispheric Histories: Ecologies and Genealogies Transnational Feminisms and Posthuman Aesthetics: Resonance and Riffing Please see the first book in this series here.

First published in 1993, Crimes of Style investigates the politics of culture and crime through an in-depth case study of graffiti in Denver and the official response to it. Focusing on the most prevalent form of graffiti writing in Denver, the book provides a detailed consideration of the social and cultural circumstances that surround its creation. It explores the national and international development and reception of hip hop graffiti that provided the context in which Denver’s hip hop graffiti emerged. It also examines the reaction of Denver’s corporate and political community, highlighting the establishment of campaigns to criminalise it and identifying both Denver’s graffiti scene and the response to it as interwoven with broader cultural processes. Most significantly, the book puts forward the circumstances surrounding the phenomenal growth of, and subsequent attempts to suppress, hip hop graffiti as indicative of injustice and inequality within the United States.

From the high plains of Canada to caves in the southeastern United States, images etched into and painted on stone by ancient Native Americans have aroused in observers the desire to understand their origins and meanings. Rock paintings and engravings can be found in nearly every state and province, and each region has its own distinctive story of discovery and evolving investigation of the rock art record. Rock art in the twenty-first century enjoys a large and growing popularity fueled by scholarly research and public interest alike. This book explores the history of rock art research in North America and is the only volume in the past twenty-five years to provide coverage of the subject on a continental scale. Written by contributors active in rock art research, it examines sites that provide a cross-section of regions and topics and complements existing books on rock art by offering new information, insights, and approaches to research. The first part of the volume explores different regional approaches to the study of rock art, including a set of varied responses to a single site as well as an overview of broader regional research investigations. It tells how Writing-on-Stone in southern Alberta, Canada, reflects changing thought about rock art from the 1870s to today; it describes the role of avocational archaeologists in the Mississippi Valley, where rock art styles differ on each side of the river; it explores discoveries in southwestern mountains and southeastern caves; and it integrates the investigation of cupules along GeorgiaÕs Yellow River into a full study of a site and its context. The book also compares the differences between rock art research in the United States and France: from the outset, rock art was of only marginal interest to most U.S. archaeologists, while French prehistorians considered cave art an integral part of archaeological research. The bookÕs second part is concerned with working with the images today and includes coverage of gender interests, government sponsorship, the role of amateurs in research, and chronometric studies. Much has changed in our understanding of rock art since Cotton Mather first wrote in 1714 of a strange inscription on a Massachusetts boulder, and the cutting-edge contributions in this volume tell us much about both the ancient place of these enduring images and their modern meanings. Discovering North American Rock Art distills todayÕs most authoritative knowledge of the field and is an essential volume for both specialists and hobbyists.

The original collection featured in "Graffiti World" highlighted more than 2,000 illustrations by 150 artists from around the world. This updated edition includes a new section devoted to work created in the five years since the book's first edition.