"Walk
down any street in Mexico, and you'll be greeted by images of soccer stars,
mariachi singers, space ships, taxis, tortas, tequila, or any one of the
colorful posters that shopkeepers, advertisers, designers, and artists
have put up throughout their cities and towns. Sensacional: Mexican Street
Graphics is the definitive collection of these outrageous, vivid, exuberant,
and downright beautiful images that so often define public space south
of the border.
In contrast to the corporate efficiency of so much American signage, the
images collected here depict a vibrant and experimental visual culture.
Advertising everything from sex clubs, wrestling arenas, and restaurants
to dentist's offices, auto-body shops, locksmiths, and shoe-repair stores,
these images provide an inspiring monument to the craft of vernacular
design, and are as much a part of the streetscape as the buildings they
cover.
Following
a foreword by renowned musician and artist David Byrne, and an introduction
by design historian Steven Heller, Sensacional presents more than 300
full-color illustrations of Mexico's most animated street graphics."
Between
urban structures and individual existence, organic and improvised systems
emerge. Situated beyond the sophisticated economy and below a level of
recognition, they are familiar yet paradoxically invisible. The ordinariness
of certain objects is so ubiquitous that they fail to evoke reflection:
construction barriers, ads on buses, traffic signs, LCD displays, chained-up
bicycles, the façades of stores, subway maps. Endcommerical / Reading
the City conducts a visual research project of urban street territory,
compiling signs, objects, and codes within grammatical relationships that
unveil embedded social conditions and contradictions. Taking New York
as a paradigmatic urban alphabet, Endcommercial / Reading the City orders
a seemingly endless array of informal and empirical photographs, demonstrating
the distinction between an unconscious visualization of singularities
and an intelligent perception of generality. Initiated by the commercial,
subject to fictionalization, it is a reference tool engaged in the thoughtful
renewal of our visual vocabulary, opposed to the omnipresent iconography
we process everyday.
Barcelona
Grafica
Editorial
Gustavo Gili SA, 2001
America
Sanchez
"
In producing this book, America Sanchez has photographed and arranged
some 1835 examples of Barcelona urban graphic art: shop signs, door numbers,
vignettes, allegories, emblems and pictograms which illustrate the uses
of the city and make them legible. In so doing, Sanchez has rescued from
anonimity a multitudinous cast of spontaneous graphic artists. With this,
he has inaugurated a new field of study of everyday life. A superficial
look will find nothing here but a collection of curiosities, products
of popular inventiveness. The more attentive gaze, however, will discover
a genuine graphic treasure."
Street
Graphics: India
Thames
and Hudson, 2001
Barry
Dawson
"Nowhere
is the visual cornucopia of street graphics more striking than in India,
where a continuous gallery of images reflects the country's rich cultural
diversity. From the Arabian Sea to the Indian Ocean, from the northern
Himalayas to its southernmost tip, the subcontinent's overwhelming profusion
of art and design excites the eyes. Street furniture, architecture, transport,
billboards, posters, packaging, animals, and people are all used as the
media of calculated design and spontaneous expression. Ancient or modern,
permanent or transient, India's street art has evolved in a myriad of
styles reflecting regional variation and concerns. Barry Dawson's photographs
are not only a colorful journey through India's cities, towns, and villages,
but also a graphic celebration of its creative street culture, an inspirational
sourcebook of vibrant ideas for students and practitioners of art and
design, as well as a lively visual record for visitors. 154 color photographs."
Street
Graphics: Cuba
Thames
and Hudson, 2001
Barry
Dawson
"Much
of todays most exuberant, most creative and most telling imagery
is all around us, in the street. Cuba has a unique place in these international
street galleries. Its colonial past and its Revolution, invoked everywhere
in utopian images, have created something vibrantly distinct.
Beyond the
ideology, this is the venue to enjoy the nostalgia of the chrome trim
and high tail fins of 1950s automobiles, the locale for Cohiba cigars,
pre-Revolution enamel Coke signs, the ever-popular Bacardi rum and all
the excitement of the Buena Vista Social Club."
Street
Graphics: Tokyo
Thames
and Hudson, 2002
Barry
Dawson
"Tokyo's
vibrant street graphics combine ancient tradition, twentieth-century mass
production, and a twenty-first-century urban vision that is uniquely Japanese.
A colorful clash of imagery renders the familiar strange and the strange
bizarre. Cartoon characters can signify the police or pornography. Fashion
statements are derived from diverse sourcesancient Egypt or even
a hospital operating room. Slot machines vend erotica; pets and cops are
robots; tempting dishes of sushi turn out to be inedible plastic representations.
Ridley Scott's futuristic film Blade Runner was inspired by Tokyo's neon
nightscape, where a fashionable department store doubles as a giant digital
TV screen featuring lifesize dinosaurs in Godzilla's hometown. 150 color
photographs."
Street
Graphics: New York
Thames
and Hudson, 2002
Barry
Dawson
"New
York is the world capital of street graphics a creative kaleidoscope
of signs, graffiti, murals and advertising. Its innovative ideas, styles
and media quickly become international trends.
Street Graphics
New York captures the city's cultural diversity jazz age elegance,
brash sixties Pop Art, hip-hop graffiti, anarchic stencil and sticker
art.
New York's
landmark's are appropriated for chic fashion advertising and and iconic
tourist souvenirs, and here too is the city's 9/11 experience, up on the
walls in emotionally charged imagery."
Street
Graphics: Egypt
Thames
and Hudson, available on 1st september 2003