Offering a unique insight into the very essence of graffiti and its creative explosion over the past 35 years, Graffiti World takes us on a whirlwind adventure throughout the Americas and Europe to almost every corner of the globe. With over 180 artists featured, author Nicholas Ganz gives us an unparalleled overview of the key trends and style developments that have made graffiti what it is today, and his individual artists' profiles - offering a true insider's perspective, with quotes from the artists themselves - are unrivalled in their breadth and detail. Renowned figures such as England's Banksy and Brazil's Os Gemeos stand alongside emerging writers to form the most comprehensive presentation ever published of the most influential and interesting graffiti artists. An appendix - including artists' biographies, a glossary and a list of websites - provides extensive additional resources.
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Nicholas Ganz, aka keinom, is a young German graffiti artist who has travelled worldwide to gather material for this book. Tristan Manco is a graphic artist in the music and film industries and director of Bristol-based Tijuana Design. He is the author of Stencil Graffiti, the bestselling guide to stencilled graffiti worldwide, and Street Logos.From Publishers Weekly:
Following the unrelated project Autograf: New York City's Graffiti Writers (powerHouse), which also took an auteur-based approach this past season, Granz (whose pen name is Keinom) widens the scope to present those he sees as the world's top graffiti writers, offering alphabetical sections of artists from the Americas, Europe and "The Rest of the World." Short prefatory histories put New York at the center of the modern graffiti world, with South American countries like Brazil later having "reached a high standard." The work is beautifully photographed throughout; multiple pieces by each artist are laid out appealingly over verso-recto spreads, along with a paragraph by Granz detailing the artist's origins and the main thrust of the work (and occasionally a photo of the artist him or herself). From gigantic murals to tiny stickers, Granz has seen and photographed it all and talks knowledgeably about everything from "wildstyle" fontage to the non-orthographically based "character culture," where artists create (and replicate) cartoonish figures in various figurative exploits. Striking a colloquial balance between insider's knowledge and thoughtful presentation, Granz's book should be durable for its cohesion of vision, if not for the scale of presentation of each artist.
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