Made in collaboration with its featured artists, Trespass traces the rise and global reach of graffiti and urban art, not just as a fringe visual movement but as a social phenomenon and central expression of youth.With an exclusive preface from Banksy, Trespass, now available as a popular Reader's Edition, presents the full historical sweep, international spread, and technical developments of the street art movement. Featuring key works by 150 artists, it connects four generations of street practitioners, incoporating both niche artists such as Miss Van and noteworthy names as Jean Tinguely, Keith Haring, Barbara Kruger, Jenny Holzer, Gordon Matta-Clark, Billboard Liberation Front,Guerrilla Girls, and Banksy.The book is set out in thematic chapters that engage with the central theme of 'trespassing'. While images of the works are allowed to speak for themselves, eachtheme is prefaced by a brief essay to provide thought-provoking context to the history, politics, protest, and illicit performance of self-expression in the socialspace. Writers include Anne Pasternak (director of public arts fund Creative Time) and civil rights lawyer Tony Serra. The author:Carlo McCormick is a pop culture critic, curator and Senior Editor of Paper magazine. His numerous books, monographs and catalogs include Beautiful Losers: Contemporary Art and Street Culture, The Downtown Book: The New York Art Scene 1974-1984, and Dondi White: Style Master General. His work has appeared in Art in America, Art News, Artforum and many other publications. The curator:Marc amp; Sara Schiller founded Wooster Collective in 2001, a website that celebrates and plays a crucial role in documenting otherwise ephemeral street art. Based in New York City, the collective curated most of the contemporary images in Trespass. Its "Wooster On Paper" series presents the work of international artists in limited edition books. The editor:Ethel Seno received her BA in the College of Letters from Wesleyan University before teaming with TASCHEN, where she worked with William Claxton on Jazzlife and New Orleans 1960, and David LaChapelle on Artists amp; Prostitutes and Heaven to Hell. Having grown up in Tokyo, she feels most at home in urban environments and currently resides in Los Angeles.

Jeff Ferrell draws on his own extensive field research to thoroughly examine the practices of graffiti artists. Focusing on the city of Denver, he takes a close look at the war against graffiti and the interplay between cultural innovation and institutionalized intolerance, arguing that coordinated corporate and political campaigns to suppress and criminalize graffiti writers further disenfranchises the young, the poor, and people of color.

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.