Art in the streets by Nick Weber-Roughton

ART

IN THE

STREETS

TABLE OF CONTENTS INTRODUCTION

A BRIEF HISTORY

LUDO

PHLEGM

D*FACE

ARYZ

C215

NYCHOS

ROA

SPACE INVADER

SHEPARD FAIRY

BANKSY

EPILOGUE

BIBLIOGRAPHY

COLOPHON

STREET ART

is a growing phenomenon that is taking the art world by storm. Itâ&#x20AC;&#x2122;s starting to be seen less as a crime, and more of an art form; and as the years go by, more artists are emerging into the scene and gaining popularity. But while street art has been growing, so has its fans. Auctions have started selling pieces of street art for hundreds of thousands of dollars, whether they are studio pieces of work from the artist, or some taken from the street directly. With my appreciation for street art, I have invested some time into looking at separate artists and their work over the years. Through out this book you will get to see some of the artists that I have learned about and, and others that I think deserve more recognition for their work, whether it be clever, or just beautiful. This book is loosely based on the painting â&#x20AC;&#x2DC;Gothic Landscapeâ&#x20AC;&#x2122; by Lee Krasner, wife of Jackson Pollock. The strokes and behavior of this painting reminded me a lot of much grafitti I have seen, and just the general art form of street art that I have seen over the years. I have been very interested in street art ever since I learned about it and saw my first Banksy piece, and I hope that this book can make you enjoy it just as much as I do. Nick Weber-Roughton (editor and designer)

A BRIEF HISTORY Graffiti has always been a dirty word for a dirty art form that blights our city’s walls and trains. Night after night, indecipherable tags and secret codes are scrawled on railway sidings and pedestrian bridges, while dripping silver spray paint smears every other high-street shopfront. Most passers-by are immune to its messages; others are confused or angered by the visual intrusion into their daily commute. Yet, all of a sudden, the newspapers are full of stories – seemingly from a parallel universe – in which anger is vented at ignorant councils who whitewash over treasured illegal murals and masterpieces painted by hooded men under the cover of darkness. The media frenzy has, so far, centred on the graffiti world’s very own Scarlet Pimpernel – who may or may not once have been a bit pimply himself – the bearded Bristolian thirtysomething called Robert Banks, or just Banksy. He could also, like Spartacus, be tall/short, fat/ skinny and black/Asian, depending on whom you believe. Banksy’s signature stencils of kissing coppers, flower-chucking terrorists and mischievous rats found on doorways and side streets have become so soughtafter that they are being chipped out of walls and sold for ludicrous sums, exactly mirroring the early ’80s phenomenon of Brooklyn-born graffiti kid SAMO (better known as troubled painter Jean-Michel Basquiat). Like New York in graffiti’s heyday, London is now embracing its

disenfranchised plein air daubers, except that they are no longer derided as criminals or vandals but lauded as ‘street artists’. Already, Banksy’s pseudo-anonymity has come to seem less of a necessity to avoid prosecution for his years of paintinflicted property damage and more a ploy to maintain his aura as international man of mystery. It may also backfire on him, as fraudulent Bansky prints have been peddled on eBay and any number of unscrupulous art dealers continue to sell secondhand Banksies as though they’re his official agents, when in fact he has only one (gallery owner Steve Lazarides). In spite of the circling wannabes, a whole street art industry is forming around young galleries and artists selling prints and unique pieces. So, while the current boom may have begun with Banksy, his witty one-liners won’t be the last word in street art. It all began in the mid-1980s as London’s hip hop scene – also imported from New York – began to grow, especially in inner-city areas such as Brixton and Westbourne Grove. Small brigades of writers began tagging their names all over town, with pseudonyms like Robbo and Drax (taken from James Bond’s enemy in ‘Moonraker’) seemingly ubiquitous on every tube line. The most famous was Mode 2, who set up the first renowned graffiti crew, the Chrome Angelz. Soon, designated graffiti ‘halls of fame’ sprang up in housing estates and train yards from

Hammersmith to Neasden. By 1987 the British Transport Police (the dreaded BTP) had launched a fully fledged graf squad to keep pace with the rampant crews, whose burgeoning membership meant they were capable of producing huge full-color ‘pieces’ (short for masterpieces) or mural-sized ‘productions’. As in-fighting between London’s graffiti kings escalated from merely ‘lining’ through or ‘dogging’ rival pieces to all-out violence and eventual arrest, famous crews like World Domination (WD), the Subway Saints (SBS) and Drop the Bomb (DTB) began to fracture and splinter. Many of those London pioneers went on to paint legal commissions and are at the heart of today’s scene, although the average street artist may be too young to have paid serious dues as an illegal ‘bomber’. Although this history suggests that there will always be a steady stream of teenage boys who feel compelled to spray their immature artistic seed across any available vertical surface, it doesn’t explain why graffiti has now reached such dizzying heights of popularity and acceptance. Perhaps it’s because the emerging generation of artists is less concerned with painting illicit and illegible pieces for the benefit of their tiny community than with attaining wider fame and bigger audiences. Perhaps it’s because they are no longer constrained by the medium of spray paint on walls and are now incorporating all kinds of street furniture – from signs to statuary – into

ad hoc installations, impulsive public interventions and increasingly political statements. Either way, the widening of the term graffiti to encompass street art, urban art and any other vaguely yoof-ful combination of art and adjective you can think of has led to an avid market for these previously unobtainable works. As contemporary art is experiencing such unprecedented prices, it’s natural that street art is gaining value, especially among a generation of people who have grown up viewing it as art rather than vandalism. Luckily for the budding enthusiast, most collecting revolves around relatively cheap limited editions of bold, graphic images that can cost as little as £50. However, buyers should beware: the business side is still underdeveloped, so print editions are often too numerous to be likely ever to attain much value. If history really is repeating itself, then the London graffiti scene will crash and burn as the New York one did after the ’80s art boom. In which case, it’s possible that only a few devotees will continue to make serious work and street art will go back underground, but the sophistication of today’s artists makes it more likely they will be around for years, perhaps even crossing over into the respectability of museum collections and art history books. Maybe journalists can finally stop looking for Banksy and start searching out the next unsung urban pariah-turned-poet.

LUDO Age Range: 30 Location: Paris

The work of Paris based Ludo, often called Nature’s Revenge, connects the world of plants and animals with our technological universe and “quest for modernism”. It speaks about what surrounds us, what affects us and tries to highlight some kind of humility. Drawn with the precision of botanical illustrations, Ludo’s new order of hybrid organisms is both elegant and fierce. Armoured vehicles spawn stag beetle horns; carnivorous plants bare rows of hunting-knife teeth; bees hover, hidden behind gas masks and goggles; automatic weapons crown the head of sunflowers; human skulls cluster together like grapes. Ludo’s work aspires to jolt us out of a longstanding collective denial: despite repeated natural disasters, we refuse to acknowledge our own fragile state. Humanity’s reign on this planet is a dangerous and fleeting illusion.

PHLEGM Age Range: 30 Location: Sheffield

“I’m twenty eight and I’m based in Sheffield UK. I’m primarily a cartoonist and illustrator who has an addiction to self publishing and underground art. All of my comic work is with black Indian ink and a dip pen. I only use colour when I’m screen printing or painting walls. I have a strange relation to graffiti, having a style that’s grown entirely from my self published comics rather than letter styles. My comic comes out every four months or so and I work endlessly on them, and have done for the past four years. I started out as a cartoonist but the graffiti side of things has really taken over the past three years. I think it’s because my style has been so effected by what i draw for the comic it’s stopped almost all outside influences. I love to get run down urban spaces and factories and play with the space. It’s such an immediate way to get your picture on the wall. A painting in the street becomes part of the cities architecture, influenced by what’s around it rather than being some awkward canvass in an art gallery.” Phlegm, 2009

D*FACE

Age Range: Unknown Location: London

“What now seems like a lifetime but is merely a decade ago I sat slumped at my desk, head on arm pushing a pencil round a piece of paper dreaming up ways to kill time and break the chains holding me to my desk, Monday to Friday each day became the same and I was eating my brain. Then one day whilst dreaming up further ideas in the series of ‘Ways to kill time’ the pencil lines on the pad started to become characters, strange and dysfunctional they formed my dysfunctional world which had no rule. Slowly I figured the pencil could be replaced with a marker pen – the Pentel N50 to be exact – and the paper replaced with cheap vinyl which was ‘acquired’ from DIY stores, these characters once resigned to a life on paper filed in a folder under ‘Not suitable for visual consumption’ began to have a life of their own; adhered to lamp post and electrical boxes they plotted and linked my route home, one became 10 and slowly 10 became more than I can remember. Each evening and as much of the day as I could rob was spent drawing and cutting out stickers. Stickers became posters, posters became more ambitious… and somewhere in between I quit my job or maybe that was I got fired, either way the inevitable had happened. Like a river cuts it’s own path, I’d cut mine.

This family of dysfunctional characters began evolve, they started to satirise and hold to ransom all that fell into their grasp – a welcome jolt of subversion in today’s media-saturated environment – the very same thing I’d grown up on. Bank notes were drawn and printed over and put into circulation for the unsuspecting to receive in their change, billboards taken over with public service announcements… I wanted to encourage people to not just to ‘see’, but to look at what surrounds them and their lives, reflecting our increasingly bizarre popular culture, rethinking and reworking cultural figures and genres to comment on our ethos of conspicuous consumption. A Pandora’s box of bittersweet delights – sweet and sugary on the surface, but with an unfamiliar, uncomfortable, taste beneath. This isn’t the beginning, it’s not the end it’s happy never ending.” D*

ARYZ

Age Range: 22 Location: Spain

Lately there has been much buzz about a street artist by the name of Aryz. Originally from Barcelona Spain, this young artist’s name has slowly but surely become a household name. Aryz prefers to paint simply to paint, his passion for art and fun are his motivation. In fact, he is unsure of what to call his art. People often define it as graffiti, while others consider it street art. He acknowledges the fact that he prefers to create large character murals – and by this he really means LARGE! This quickly earns him a spot with some of the best muralists around the globe. Aryz is a very influential character throughout the globe. His presence has helped break various barriers and has earned him a spot with the very best. He has painted through various parts of Europe including Spain, Poland, Italy, and other location. His work is not limited to fullscale building size murals since he is constantly working on studio work and screen-printing as well. People often compare his work to those of ETAM CRU – who are truly amazing muralists.

C215 Age Range: 40 Location: Paris

“I try to interact with context, so I place in the streets elements and characters that belong especially to the streets. I like to show things and people that society aims at keeping hidden: homeless people, smokers, street kids, bench lovers for example” Christian Guémy, also known as C215 is a Parisian street artist focused on stencil graffiti. Born in 1973, C215 started spray painting in 2005 and is today one of the finest, and most productive stencil artists on the street art scene. His striking portraits of local people, children and especially his daughter Nina are expressive and distinctive in style. With his subjects always portrayed as proud and dignified, his images communicate on an universal level and draw attention to those that society has forgotten about. Although C215 has been writing and publishing poetry separately, the artist never adds text to his stencils, in order to give the viewer the full possibility of the interpretation. In his choice of backgrounds, layers of random, yet well selected found objects speak of passing time, with an outcome that is both, aesthetical and meaningful. His elaborate stencils - if outside a gallery- appear in the streets of various cities all over the globe, such as New Delhi, London, Istanbul, Fes, Rome, Barcelona, and Paris. Lighting up the urban spaces they decorate, every stencil has a reason to exist in its specific, well thought of place and all his pieces are hand cut and sprayed originals with a mix of found objects. C215’s favourite topic is portraits, as faces have an universal message that everybody, no matter who, will understand and be moved by. But “In the end, behind the portraits, the question is always freedom and dignity in the face of a capitalist daily life system.”

NYCHOS Age Range: 30 Location: Vienna

Images of complete carnage flickering infront of your eyes ,cold sweat and the fear of dying caused by dreaming too fast, enters your mind. You sit in bed and wonder what the fuck is going on in your head. All this happened to Nychos at the age of fifteen . His mind started to go crazy mostly while he was sleeping. Obviously dreams are reflected memories, but why are they so crazy and horrifying? Lets go 10 years back. Nychos grew up in a little village near Graz (Styria,South of Austria). He calls it the green hell. Born into an Austrian hunters family, he saw, at a very young age, things which normal people would consider as cruel and brutal. He quickly got used to death and any other brutalities of nature.His mind never took it as something disgusting. Rather he started to see some beauty in those ugly things. One day. when he was about six he found a little dead baby lamb under a trashcan. First he was shocked as he saw that cute but dead little animal. Something was weird about it. when he looked closer he realized that half the body was eaten up by maggots which had the same colour as the lambs fur. Crawling and moving pretty fast, they were covered up by the trashcan and didnt like the light. Suddenly he wasnt shocked anymore and enjoyed looking at one life growing on another past life. At the age of seven he was bitten by a wild boar when he was playing in the forest close to his home. Not much later he had boarmeat for lunch.This fact was very interesting to him.Watching his father pulling guts out of a dead wild animal was daily business so he started to get inspired by the anatomy of all kind of creatures. He’s also a kid of the 80s, so he is from the generation of kids getting raised by the TV. Watching cartoons was one of the most important things to him. He was always an observer of things and always very visual, but at one point his mind started to go crazy.

At the age of nineteen those “dreams” turned into epileptic fits followed by car accidents and nine months of EEG and CT-tests. The doctors couldn’t tell him what it was cause he didn’t show symptoms of an epileptic. After he worked out more or less (by himself) what was going on, he found the way he had to go. Nychos mentions the encounter with the white rabbit waking him up after one of those mental dreams again covered in sweat. The Rabbit told him something which led him back to a cartoon he saw when he was seven and he already forgot. “Watership Down”. A cartoon way too brutal for young kids. Nychos saw clear and moved on to fullfill his destiny he was born for, he understood that he had to follow the white rabbit. Those dreams finally started to make some sense. His ideas were always there.,they just needed to get out . And so he started to draw. When we asked Nychos why this sounds similar to the story of the movie “DONNIE DARKO” he answerd that couldnt believe what he was watching.he knows his story is much older then this movie and he understands that hes not alone with this phenomenon. After doing some research about the movie he worked out that it has the same origin. “watership down.” Couple of years later he started the graffiti / streetart project “RABBIT EYE MOVEMENT.” The rabbit eye movement is just a little part in his creative universe but a very important one for his whole development as an artist. It nourishes the idea notion of creative destruction and the breakdown of society. “The rabbits operate outside of our system,” says Nychos, “and have no rules to follow. They just have to be smart cause the whole world is their enemy.They appear whenever and wherever they want to, hit and disappear”. Being a Rabbit, Nychos sees similarities to the any underground movement especially the the urban art movement. Still unstoppable and led by the rabbit, Nychos often collaborates with the world’s most accomplished painters, making him one of the most noticeable breakout artists from the Austrian scene. In 2011 he teamed up with several “Urban Illustrators” who all have a kind of unique and weird style. Dxtr, HrvB,Cone, Vidam, Look, Frau Isa, Rookie, The LowBrows and Nychos are “THE WEIRD”

ROA

Age Range: 38 Location: Belgium Roa, a hugely talented Belgian street artist from Ghent, is renowned for his giant black and white animal street art. Roa started off in the street art scene painting animals on abandoned buildings and warehouses in the isolated industrial areas of his hometown. Today, Roa’s animals may be found slumbering on the sides of semi derilict buildings and peering out from shop shutters in citiy streets all accross the world from New York to Berlin and Warsaw to Paris. Roa has visited London on a number of occasions and left his mark. His animals inhabit a number of walls across Shoreditch and, in particular, around Brick Lane. Roa’s street art has a huge visual impact, being both visceral and feral, and he succeeds in juxtaposing nature and the urban environment. The huge scale and highly intricate nature of Roa’s street art means that pieces take many hours to paint. Consequently, most of his pieces are done with permission which means that his works usually stick around on the street for a while (notwithstanding the efforts of local London Councils).

SPACE INVADER Age Range: 44 Location: France

Whether you consider him a genius, an innovator or a public nuisance and a vandal, Space Invader is most certainly a powerful force in modern street art. His style involves a heavy use of mosaics, humor and piece-by-piece deconstruction of traditional art styles. At times, Invader finds himself at odds with the world of contemporary art, and throughout his prolific career he has clashed with police, museums and even other street artists. Invader keeps his identity a secret for legal reasons, pixellating his face in videos and photographs. However, we can get a great sense of his ethics, artistic goals and personality through his works. We also know that Invader is 43 years old, a French citizen, and a cousin of Mr. Brainwash. Invader studied at the Ecole des Beaux-Arts, a Parisian art school, although he frequently tells interviewers outlandish stories about graduating from a tiling school on Mars. In his early years, he was interested in punk music and rebellion and these interests helped Invader enter the world of street art. Unlike his many contemporaries, however, Invader eschewed spray paint cans in favor of tile and grout. In 1998, Invader began his masterwork and immediately gained notoriety. He installed mosaic pieces resembling the pixellated villains in the arcade game Space Invaders throughout his home city of Paris. To confused Parisians, the works seemed to appear overnight in both high-traffic locations and hidden street corners.

In 2000, Space Invader began showing his works in galleries such as the Magda Danysz Gallery in Paris, the MAMA Gallery in Rotterdam, and most recently at the Museum of Contemporary Art (MOCA) in Los Angeles. These showings allowed him to make steady money from his works and to experiment with more detailed, permanent pieces. One of Invader’s most important innovations was “Rubikcubism,” a style of mosaic art that uses various Rubik’s Cube configurations to create extremely complex images. His Rubik image of anarchist Florence Rey from 2005 inspired hundreds of imitators and helped to establish Invader as a serious artist. Invader has not stopped installing his mosaics illegally. While visiting Los Angeles for a MOCA show titled “Art in the Streets” in 2011, Space Invader was allegedly arrested for vandalism after the LAPD caught him with tile and grout near Little Tokyo’s Perez building. Despite the controversy, Invader was apparently released without charges after the arrest. For now, he’s still out there, promoting pixel aesthetics and making his mark on galleries, city walls, and landmarks around the world.

SHEPARD FAIREY Age Range: 43 Location: Los Angeles

“The OBEY sticker campaign can be explained as an experiment in Phenomenology. Heidegger describes Phenomenology as “the process of letting things manifest themselves.” Phenomenology attempts to enable people to see clearly something that is right before their eyes but obscured; things that are so taken for granted that they are muted by abstract observation. The FIRST AIM OF PHENOMENOLOGY is to reawaken a sense of wonder about one’s environment. The OBEY sticker attempts to stimulate curiosity and bring people to question both the sticker and their relationship with their surroundings. Because people are not used to seeing advertisements or propaganda for which the product or motive is not obvious, frequent and novel encounters with the sticker provoke thought and possible frustration, nevertheless revitalizing the viewer’s perception and attention to detail. The sticker has no meaning but exists only to cause people to react, to contemplate and search for meaning in the sticker. Because OBEY has no actual meaning, the various reactions and interpretations of those who view it reflect their personality and the nature of their sensibilities. Many people who are familiar with the sticker find the image itself amusing, recognizing it as nonsensical, and are able to derive straightforward visual pleasure without burdening themselves with an explanation. The PARANOID OR CONSERVATIVE VIEWER however may be confused by the sticker’s persistent presence and condemn it as an underground cult with subversive intentions. Many stickers have been peeled down by people who were annoyed by them, considering them an eye sore and an act of petty

vandalism, which is ironic considering the number of commercial graphic images everyone in American society is assaulted with daily. Another phenomenon the sticker has brought to light is the trendy and CONSPICUOUSLY CONSUMPTIVE nature of many members of society. For those who have been surrounded by the sticker, its familiarity and cultural resonance is comforting and owning a sticker provides a souvenir or keepsake, a memento. People have often demanded the sticker merely because they have seen it everywhere and possessing a sticker provides a sense of belonging. The Giant sticker seems mostly to be embraced by those who are (or at least want to seem to be) rebellious. Even though these people may not know the meaning of the sticker, they enjoy its slightly disruptive underground quality and wish to contribute to the furthering of its humorous and absurd presence which seems to somehow be antiestablishment/societal convention. Giant stickers are both embraced and rejected, the reason behind which, upon examination reflects the psyche of the viewer. Whether the reaction be positive or negative, the stickers existence is worthy as long as it causes people to consider the details and meanings of their surroundings. In the name of fun and observation.” Shepard Fairey, 1990

BANKSY Age Range: Unknown Location: England

Banksy, a street artist whose identity remains unknown, is believed to have been born in Bristol, England, around 1974. He rose to prominence for his provocative stenciled pieces in the late 1990s. Banksy is the subject of a 2010 documentary, Exit Through the Gift Shop, which examines the relationship between commercial and street art. Banksy began his career as a graffiti artist in the early 1990s, in Bristol’s graffiti gang DryBreadZ Crew. Although his early work was largely freehand, Banksy used stencils on occasion. In the late ‘90s, he began using stencils predominantly. His work became more widely recognized around Bristol and in London, as his signature style developed. Bansky’s artwork is characterized by striking images, often combined with slogans. His work often engages political themes, satirically critiquing war, capitalism, hypocrisy and greed. Common subjects include rats, apes, policemen, members of the royal family, and children. In addition to his two-dimensional work, Banksy is known for his installation artwork. One of the most celebrated of these pieces, which featured a live elephant painted with a Victorian wallpaper pattern, sparked controversy among animal rights activists.

Other pieces have drawn attention for their edgy themes or the boldness of their execution. Banksy’s work on the West Bank barrier, between Israel and Palestine, received significant media attention in 2005. He is also known for his use of copyrighted material and subversion of classic images. An example of this is Banksy’s version of Monet’s famous series of water lilies paintings, adapted by Banksy to include drifting trash and debris. Banksy’s worldwide fame has transformed his artwork from acts of vandalism to sought-after high art pieces. Journalist Max Foster has referred to the rising prices of graffiti as street art as “the Banksy effect.” Interest in Banksy escalated with the release of the 2010 documentary Exit Through the Gift Shop. The film, which premiered at the Sundance Film Festival, was nominated for an Academy Award.

EPILOGUE The street artists that you have read about are just a few of the many that exist out there across the whole world. That number only continues to grow as more artists risk getting arrested every day to paint or install a new piece of theirs on public walls. For many years people never made the connection between graffiti, street art and the high brow fine art world. This was obviously a huge mistake, which has been more recently corrected by many gallerists, art critics and even art historians. Contemporary street artist Swoon, for example, has already had her work placed into the permanent collection of the Museum of Modern Art in New York City. There have also been many artists, such as Shepard Fairey and Banksy, who have already warranted their own mid-career retrospectives at major museums and institutes around the world. All of this exposure has brought the work of contemporary street artists to the attention of many young artists, who have begun to be seriously influenced by what they have seen, not only in the streets for the last ten or twenty years, but now in the galleries and even museums.

BIBLIOGRAPHY A Brief History

Ward, Ossian. “How Graffiti Became Art.” Time Out. N.p., 29 Jan. 2008. Web. 24 Feb. 2013. <http://www. timeout.com/london/art/how-graffiti-became-art>.

Ludo “About | This Is Ludo.” About | This Is Ludo. N.p., n.d. Web. 24 Feb. 2013. <http://thisisludo.com/?page_ id=1511>. “This Is Ludo.” This Is Ludo. N.p., n.d. Web. 24 Feb. 2013. <http://thisisludo.com/>. “Ludo “Green Hot Chili Peppers” New Mural In Paris, FranceStreetArtNews.” Ludo “Green Hot Chili Peppers” New Mural In Paris, FranceStreetArtNews. N.p., n.d. Web. 24 Feb. 2013. <http://www.streetartnews. net/2012/08/ludo-green-hot-chili-peppers-new-mural. html>. “Interviews: LUDO.” Arrested Motion. N.p., n.d. Web. 24 Feb. 2013. <http://arrestedmotion.com/2010/02/ interview-ludo/>. “Ludo “Sociomasochism” New Mural In ParisStreetArtNews.” Ludo “Sociomasochism” New Mural In ParisStreetArtNews. N.p., n.d. Web. 24 Feb. 2013. <http://www.streetartnews.net/2011/10/ludosociomasochisme-new-mural-in-paris.html>. “LUDO New Mural In Paris, FranceStreetArtNews.” LUDO New Mural In Paris, FranceStreetArtNews. N.p., n.d. Web. 24 Feb. 2013. <http://www.streetartnews. net/2012/11/ludo-new-mural-in-paris-france.html>. “Ludo New Mural In Paris, FranceStreetArtNews.” Ludo New Mural In Paris, FranceStreetArtNews. N.p., n.d. Web. 24 Feb. 2013. <http://www.streetartnews. net/2013/01/ludo-new-mural-in-paris-france.html>. “Street Art- Graffiti Î£Ï Î· Î Î±Î»Î»Î¯Î±.” Alexiptoto RSS2. N.p., n.d. Web. 24 Feb. 2013. <http://www.alexiptoto. com/2012/11/19/street-art-graffiti-στη-γαλλία/>.

Phlegm Morgan, Vincent. “The Street Artist Phlegm Wrote for FatCap a Text about Him and His Artworks. Cartoon Characters, Big Walls and Art on Plane...” FatCap. N.p., 18 Oct. 2009. Web. 24 Feb. 2013. <http://www.fatcap. com/article/phlegm-1.html>.

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Aryz Vimural. “Vimural: The Viral Mural Home to Street Artist Biographies.” : Aryz. N.p., 14 Dec. 2012. Web. 24 Feb. 2013. <http://vimural.blogspot.com/2012/12/aryzstreet-artist-biography.html>. “ARYZ.” Aryz. N.p., n.d. Web. 24 Feb. 2013. <http:// www.aryz.es/>. “Humongous Art on Abandoned Factory Walls (15 Pics).” - My Modern Metropolis. N.p., n.d. Web. 24 Feb. 2013. <http://www.mymodernmet.com/profiles/blogs/ humongous-art-on-abandoned>. “Main Menu.” What I See Right Now. N.p., n.d. Web. 24 Feb. 2013. <http://whatiseerightnow.wordpress.com/ tag/g40-mural-project/>. “Aryz: Street Art & Paintings.” Contour Magazine RSS. N.p., n.d. Web. 24 Feb. 2013. <http://contourmagazine. com/2011/09/02/aryz/>. “Aryz â Street Art.” Indoor Digital Billboards RSS. N.p., n.d. Web. 24 Feb. 2013. <http://indoorbillboards.cc/ aryz-–-street-art>.

C215 “C215 - About | Facebook.” Facebook. N.p., n.d. Web. 24 Feb. 2013. <https://www.facebook.com/pages/ C215/151888344535?sk=info>. Flickr. Yahoo!, n.d. Web. 24 Feb. 2013. <http://www. flickr.com/photos/c215/>. “Stencil Art by C215.” Koikoikoi. N.p., n.d. Web. 24 Feb. 2013. <http://koikoikoi.com/2011/02/stencil-artby-c215/>. “WWW.URBANPAINTING.INFO: C215 Solo Show Signal Gallery - London.” WWW.URBANPAINTING. INFO: C215 Solo Show - Signal Gallery - London. N.p., n.d. Web. 24 Feb. 2013. <http://www.urbanpainting. info/2010/07/c215-solo-show-signal-gallery-london. html>. “Fresh Stuff From C215 | Wooster Collective.” Wooster Collective. N.p., n.d. Web. 24 Feb. 2013. <http://www. woostercollective.com/post/fresh-stuff-from-c2151>. “Tell Your Friends!!” C215. N.p., n.d. Web. 24 Feb. 2013. <http://www.33third.com/boards/t/90/c215.aspx>. “THE STREET ART BLOG: C215 HITS PARIS.” THE STREET ART BLOG: C215 HITS PARIS. N.p., n.d. Web. 24 Feb. 2013. <http://www.thestreetartblog. net/2011/02/c215-hits-paris.html>.

Nychos “NYCHOS.” NYCHOS. N.p., n.d. Web. 24 Feb. 2013. <http://nychos.tumblr.com/>. “Graffiti Clips: Le RÃ©cap 2011.” Graffiti Clips: Le RÃ©cap 2011. N.p., n.d. Web. 24 Feb. 2013. <http:// graffiticlips.blogspot.com/2012/01/le-recap-2011.html>. “Les 20 Ans Dâ 123klan Ã Brooklyn.” Les 20 Ans Dâ 123klan Ã Brooklyn. N.p., n.d. Web. 24 Feb. 2013. <http://www.reduxmag.com/les-20-ansd123klan-a-brooklyn/>. Sligz.eu. N.p., n.d. Web. <http://slizg.eu/viewtopic. php?f=9&t=29467>. “OH! Parasite: Nychos.” OH! Parasite: Nychos. N.p., n.d. Web. 24 Feb. 2013. <http://www.ohparasite. com/2012/10/nychos.html>.

N.p., n.d. Web. 24 Feb. 2013. <http://www. streetartnews.net/2012/03/nychos-new-murals-invienna-austria.html>.

Roa Street Art London. “Roa.” Street Artists. N.p., 25 Oct. 2010. Web. 24 Feb. 2013. <http://streetartlondon. co.uk/artists/roa/>. “Roa | Bristol | Fox | Ukingdom.” Roa | Bristol | Fox | Ukingdom. N.p., n.d. Web. 24 Feb. 2013. <http://www. ekosystem.org/photo_xxl/934703>. “Streets: ROA (Stockholm).” Arrested Motion. N.p., n.d. Web. 24 Feb. 2013. <http://arrestedmotion. com/2012/02/streets-roa-stockholm/>. “Artbleat.” : ROA: HYPNAGOGIA. N.p., n.d. Web. 24 Feb. 2013. <http://artbleat.blogspot.com/2012/05/roahypnagogia.html>. Backwoodsgallery.com. N.p., n.d. Web. <http:// backwoodsgallery.com/wp-content/uploads/2012/12/ roa-1.jpg>. “Roa | Plane | North-america.” Roa | Plane | Northamerica. N.p., n.d. Web. 24 Feb. 2013. <http://www. ekosystem.org/photo_xxl/934708>.

Space Invader “About Space Invader - Artist Biography.” RSS. N.p., n.d. Web. 24 Feb. 2013. <http://www.stencilrevolution.com/ profiles/space-invader/>. Wikipedia.com. N.p., n.d. Web. <http://en.wikipedia.org/ wiki/File:Space_Invader.JPG>. “Art in the Streets: Contained and Free : Friends vs. Foes.” Friends vs Foes RSS. N.p., n.d. Web. 24 Feb. 2013. <http://friendsvsfoes.com/art-in-the-streetscontained-and-free/>. “AndBerlin.” AndBerlin. N.p., n.d. Web. 24 Feb. 2013. <http://andberlin.com/tag/space-invaders/>. “Create a Space Invader Yellow Mosaic Meme.” Create Space Invader Yellow Mosaic Meme. N.p., n.d. Web. 24 Feb. 2013. <http://www.captionite.com/random/spaceinvader-yellow-mosaic/>.

“NYCHOS New Murals In Vienna, AustriaStreetArtNews.” NYCHOS New Murals In Vienna, AustriaStreetArtNews.

“Punya Mishra’s Web.” Punya Mishras Web RSS. N.p., n.d. Web. 24 Feb. 2013. <http://punya.educ.msu. edu/2010/08/13/space-invaders-in-paris/>. Commons.wikimedia.org. N.p., n.d. Web. <http:// commons.wikimedia.org/wiki/File:Space_Invader_Apple. jpg>. “SpaceÂ invader.” Wanderlust in PARIS. N.p., n.d. Web. 24 Feb. 2013. <http://wanderlustinparis. com/2012/10/09/space-invader/>. Brooklynstreetart.com. N.p., n.d. Web. <http://www. brooklynstreetart.com/theblog/2009/06/07/images-ofthe-week-060709/#.USQRCXBAymQ>. “The Street Art Tumblr.” The Street Art Tumblr. N.p., n.d. Web. 24 Feb. 2013. <http://stencils.tumblr.com/>.

Shepard Fairy Fairy, Shepard. “Manifesto - OBEY GIANT.” Obey Giant. N.p., 2009. Web. 24 Feb. 2013. <http://www.obeygiant. com/about>. “OBEY GIANT.” Zen Garage. N.p., n.d. Web. 24 Feb. 2013. <http://zengarage.com.au/2012/01/obey-giant/>. Flickriver.com. N.p., n.d. Web. <http://www.flickriver. com/photos/lmgoblue/3262013050/>. “Rad Murals & Street Art in San Diego, California.” Loving Mixed Media. N.p., n.d. Web. 24 Feb. 2013. <http://lovingmixedmedia.com/profiles/blogs/rad-muralsamp-street-art-in>. “Museum Of The Street Art: Obey.” Museum Of The Street Art: Obey. N.p., n.d. Web. 24 Feb. 2013. <http:// museumofthestreetart.blogspot.com/2011/04/obey. html>. “Copenhagen Street Art. | Boomstudio.” Boomstudio. N.p., n.d. Web. 24 Feb. 2013. <http://boomstudio.org/ tag/copenhagen-street-art/>.

Banksy “Banksy Biography.” Bio.com. A&E Networks Television, n.d. Web. 24 Feb. 2013. <http://www.biography.com/ people/banksy-20883111>. “STREET ART UTOPIA We Declare the World as Our Canvas.” STREET ART UTOPIA. N.p., n.d. Web. 24 Feb. 2013. <http://www.streetartutopia.com/?p=720>.

“Banksy-1.” N.p., n.d. Web. 24 Feb. 2013. <http://www. bigbrotherwatch.org.uk/home/2012/02/price-privacycouncils-spend-521m.html/banksy-1>. “Senses Lost.” Senses Lost RSS. N.p., n.d. Web. 24 Feb. 2013. <http://senseslost.com/2011/12/12/morebanksy-street-art-in-london/>.

Epilogue “Q&A Categories.” What Is the Importance of Contemporary Street Art? N.p., n.d. Web. 11 Mar. 2013. <http://painting.yoexpert.com/art-ideasand-creativity-10308/what-is-the-importance-ofcontemporary-street-art-1606.html>.

COLOPHON This book was designed and printed by Nick WeberRoughton. The grid and reason for this book to be written was all inspired by Lee Krasners painting â&#x20AC;&#x2DC;Gothic Landscape.â&#x20AC;&#x2122; All type was hand set also by Nick Weber-Roughton. Headers were set in in Futura Extra Bold Condensed Oblique at 40pts, subs heads at 12/14. Body copy was set in Akzidenz-Grotesk BQ Regular at 9/11. The version of Futura that I chose was because of the bold nature of the type, relating back to the letterforms in grafitti and street art. It is as well the same font used for all OBEY propoganda posters and art.