Titi freak biography books
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After spending most of in preparation, Michael &#;RJ&#; Rushmore is one week from the opening of &#;The Thousands&#;, a retrospective survey covering artists of the last few decades that led to what we&#;re calling &#;Street Art&#; today.
Nick Walker for The Thousands (courtesy Michael &#;RJ&#; Rushmore)
As editor and author of the popular blog Vandalog, RJ has been taking readers on a tour of the Street Art scene from his unique perspective. Encouraged by his father, an avid and prodigious collector of street art, the recent high school graduate has labored for much of the last 5 months to pull together this show &#; reaching out to artists, collectors, authors, publishers, you name it.
When RJ first told us about his idea for a &#;pop-up&#; show in London, we thought it would be a small affair with perhaps one or three of the larger names and examples of work in an inflatable shop on cobblestone streets. But like so many young people energized by the excitement garnered in a
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The Thousands by RJ Rushmore of Vandalog
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Forward The last five years or so has seen an explosion of artists working in the outdoors, often in an urban environment, and the interest from newspapers, television news, magazines, books and radio has been matched by the public’s appetite for this growing phenomenon. Stencils, woodcuts, sculptures, stickers, freehand paintings, pasted posters, ceramic tiles and photographs have been put up in cities across the world. In order that these outdoor, usually unsanctioned, artworks could be discussed people have come up with various terms, none of which is entirely satisfactory. Some people favour ‘outsider’ or ‘urban art,’ which allows for artists who don’t work in the street but whose aesthetic and attitude somehow makes them fit alongside artists who do, but the most widely used term is ‘street art.’ Under this definition anyone who creates an artwork and places it on a wall in the street is ‘doing’ street art. Indeed, this is one of th
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LIVENESS IN MODERN MUSIC: MUSCIANS, TECHNOLODGY and the observation OF PERFORMANCE
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This study investigates the idea and practice of liveness in modern music. Understanding what makes music live in an ever-changing musical and technological terräng is one of the more complex and timely challenges facing scholars of current music, where liveness is typically understood to represent performance and to stand in opposition to recording, amplification, and other methods of electronically mediating music. The book argues that liveness itself emerges from dynamic tensions inherent in mediated musical contexts—tensions between music as an acoustic human utterance, and musical sound as something produced or altered bygd machines. Sanden analyzes liveness in mediatized music (music for which electronic mediation plays an intrinsically defining role), exploring the role this