By Margo Thompson; Klaus H Carl
Das vorliegende Buch präsentiert eine neue examine der Verbindungen zwischen dem Kunstgenre Graffiti und dem Werk Jean-Michel Basquiats und spricht insofern sicherlich ein breites Publikum an. Es gibt gegenwärtig nur äußerst wenige Studien zu dieser Thematik, was once diese originelle examine umso wichtiger macht. Der Autor analysiert den vergleichbaren Hintergrund der Graffiti-Künstler und Basquiats, hebt gleichzeitig jedoch auch die Unterschiede hervor, die Basquiat internationale Berühmtheit verschafften, während der Großteil der Graffiti-Künstler anonym geblieben ist. �Read more...
summary: Das vorliegende Buch präsentiert eine neue examine der Verbindungen zwischen dem Kunstgenre Graffiti und dem Werk Jean-Michel Basquiats und spricht insofern sicherlich ein breites Publikum an. Es gibt gegenwärtig nur äußerst wenige Studien zu dieser Thematik, was once diese originelle examine umso wichtiger macht. Der Autor analysiert den vergleichbaren Hintergrund der Graffiti-Künstler und Basquiats, hebt gleichzeitig jedoch auch die Unterschiede hervor, die Basquiat internationale Berühmtheit verschafften, während der Großteil der Graffiti-Künstler anonym geblieben ist
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Additional info for American graffiti
We realized the relationships amongst themselves. It was difficult for writers to power of ourselves and the miraculous community we make contact for a variety of reasons, including concern about letting one’s identity become known to the police, the brevity of 81 were a part of. most graffiti writers’ active careers, an urban geography that Graffiti 1980, as Esses’ studio was called, was crucial to writers was divided along school zones and subway lines, and simple making a transition from the subway to painting on canvas: it lack of means of communication, since in the days before was a networking opportunity at a time when communication mobile phones access to telephones was limited to homes, among writers was difficult; it facilitated collaboration and where there was competition for the line, and public booths.
He invited them something he might do on a train. He later realised that his to his apartment, where they showed him photographs move to exclusively painting on canvas began at the Esses documenting their pieces. 88 Others from the ROC crew, KEL and MARE also dismayed that they would be scrubbed off the trains, Esses worked there. The two had been part of DONDI’s CIA crew. proposed that they organise a workshop where writers could DONDI arrived one day with ‘his photographer’, Martha work on permanent surfaces to preserve their efforts.
Qxp 5/14/2009 3:33 PM Page 35 Subway Writers LEE, Untitled, 1981. Aerosol paint on wall. qxp 5/14/2009 3:33 PM Page 36 American Graffiti other advice. 14 DAZE, from the Bronx, was writer’s tag, while DONDI was known for his sharp eye for friends with KEL and MARE, and joined the CIA crew to write in 10 design. Once a writer had his own reputation, he continued the 2 yard in Brooklyn. LADY PINK formed a crew of female to learn from other writers by working with them in a friendly writers called LOTA, Ladies of the Arts.
American graffiti by Margo Thompson; Klaus H Carl