Table of Contents
Chapter 1: Communication from the 1960’s through 1999
- Chapter 1: Communication from the 1960’s through 1999
- On being a graffiti writer in the 1970's
- The Soul Artists
- The Mudd Club and "Beyond Words"
- "Wild Style"
- "Subway Art" and other early published documentation of graffiti
- Stencils in Paris
- The education of James Jessop
- Shepard Fairey’s surprising beginnings
- Flick trading
- Zines and magazines
- Adam Void on zines
- Conclusion to chapter one
Chapter 1.5: In conversation with Martha Cooper, Luna Park and RJ Rushmore
Chapter 2: Building and discovering the global track
- Chapter 2: Building and discovering the global track
- Audience and public in the digital age
- The early new systems
- And then came 2006
- Rise of the hobbyist documentary photographer
- Continued growth on new digital platforms
- New platforms away from keyboard
- Conclusion on the structure of the new systems
- Existing in the new systems
- Logan Hicks and Stencil Revolution
- Shepard Fairey on going from the street to the internet
- Reaching beyond geographic boundaries
- Where are you based? Who cares?
- Tracing a style’s transition from local to global
- The internet gives Roa a boost
- Australians and their travels
- A closer look at Kid Zoom
- Gaia gets up in Baltimore
- Street art success through the internet
- Painting in spaces where fans rarely visit
- Roa: From abandoned factories to city centers
- JR amplifies voices
- The Underbelly Project
- Talking to the web
- Banksy painting for the media and the web
- A brief interview with C215
- Some final thoughts on location
Chapter 2.5: An interview with Brooklyn Street Art
Chapter 3: Styles for the global track
- Chapter 3: Styles for the global track
- Conceptual and abstract street art
- Op art
- Super ephemeral
- Buffable offenses
- Ad takeovers
- OX, ad takeovers and the internet
- Jordan Seiler’s megaphone
- An interview with Poster Boy
- Conclusion on ad takeovers
- Tape art and yarnbombing
- Install, document and dismantle
- Jeice2's very ephemeral poster
- Intentionally temporary yarn bombs
- Staged photos by Elfo and The Wa
- The story of an artwork gone viral
- Performance
- Performing graffiti and street art
- Nug and Pike’s videos
- KATSU’s videos
- Brad Downey and Akay’s videos
- Performing as Maismenos
- The Astoria Scum River Bridge
- SWEATSHOPPE’s videos
- Conclusion on super ephemeral art
- Incomplete on the street
- Activated on your screen
- Bumblebeelovesyou’s physical/digital comic
- Multi-photo pieces
- Street animations
- GIFs
- Manifestos
- Invisible pieces
- Manipulated photography
- Conclusion on street art and graffiti designed for the global track
- But maybe the internet isn’t so great
- Cheating
- Rise of the gatekeepers
- Do-it-for-the-photo street art
- The death of local styles
- A subpar experience
- Different responses to the same work, online and on the street
- Conclusion on traditional street art and graffiti online
Chapter 3.5: An interview with KATSU
Chapter 4: Organic and invasive viral art
- Chapter 4: Organic and Invasive Viral Art
- Traditional internet art
- A few examples
- Organic viral art
- Digital Faile
- Evan Roth, floating between worlds
- General Howe, from pavement to pixels
- John Fekner finds a new public space
- Public internet art
- KATSU getting up in digital space
- Conclusion on organic viral art by street artists and graffiti writers
- Viral art by non-street artists/graffiti writers
- GIF artists
- Memes
- Conclusion on organic viral art
- Invasive Viral Art
- Evan and Franco Mattes aka 0100101110101101.org
- The World’s Most Exclusive Website
- Saber’s Twitter graffiti
- Matt Troy: Spammer and/or artist
- Art in your spam folder
- John Fekner in the digital ether
- Google bombs
- Lepos invades on all fronts
- SimCopter’s easter egg
- Defacing websites as a form of graffiti
- Conclusion on invasive viral art
- In closing