A follow-up to the successful Scrawl: Dirty Graphics and Strange Characters, this visceral selection of record sleeves, zines and walls from Vancouver to Osaka, Rio to Melbourne, explores the creative identities of public art from unexpected regions of the world.
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Editorial Reviews
Amazon.com Review
Over the last 10 years the line between culture and counterculture has turned into a zone, and that zone is graf, shorthand for a subculture that produces graffiti, art, fashion, and design. Scrawl Too: More Dirt is a rich collection, maybe even a sourcebook, of all of these manifestations, marked by strong lines, active forms, architectural presentations, and small but numerous interventions that have coalesced into an entire young urban aesthetic. While the more familiar graf may have been absorbed into commerce to the point that it is unmoving (such as the Obey stencils from New York), the work from Japan and Australia is stunning, and there is more of it here than in the book's predecessor. The images are lush and compelling in themselves, but they are equally significant in their selection. --Juliette Cezzar
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Most Helpful Customer Reviews
3 of 4 people found the following review helpful:
5.0 out of 5 stars
One of the best graffiti surveys availiable.,
By dave-o (boston) - See all my reviews
This review is from: Scrawl Too: More Dirt (Paperback)
There are a lot of graffiti art books on the market that don't capture the essence of street graphics. They either fixate on a certain style or get caught up in an outdated romanticism of the tagger figure. 'Scrawl Too' is an awesome, beautiful book featuring bombs from all over the world and scores of contemporary graffiti artists. I got the sense that each of the featured artists has a self-awareness of the state of graffiti art in the market culture. Barry McGee has developed an iconography that captures pathos, suffering, indifference, and humor. Obey Giant emphasizes and parodies the ubiquitousness of corporate logos and has developed a brand more based on 'street cred' than market trends. (Or gives the appearance of doing so anyway). The book also focuses on smaller scale bombs and tags and in doing so a pattern emerges. Most of the pieces seem to be a reaction to the near-loss of urban spaces, both public and private to (mostly)gentrification and a dying connection between the people that inhabit them.
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