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|Product dimensions:||10.20(w) x 8.50(h) x 1.10(d)|
About the Author
G. James Daichendt, Ed.D. is a professor of art history at Azusa Pacific University in southern California and is the author of the books Artist Teacher: A Philosophy for Creating and Teaching and Artist Scholar: Reflections on Writing and Research. In addition he is the Founding and Principal Editor of the academic journal, Visual Inquiry: Learning and Teaching Art and is the Arts and Culture Editor for the magazine, Beverly Hills Lifestyle. He is also a regular contributor to a variety of arts journals and newspapers, including Teaching Artist Journal, Art Education, and the International Journal of Art and Design Education.
Dr. Daichendt also contributes art criticism of southern California museums and galleries for ArtScene and Artillery: Killer Text on Art. Jim holds a doctorate from Columbia University and graduate degrees from Harvard and Boston universities.
What People are Saying About This
This celebration of a movement and body of work “sometimes considered vandalism and sometimes cultural treasures” reflects its practitioners’ exuberance and recklessness; even the book’s raw-edged cardboard covers, plastered with graphically bold images, immediately signal the playful, gritty, provocative attitude of its subject. Multiple pages of photographs of works, collaged and crammed together, predominate, evoking walls layered with paintings, murals, and “wheat pastes”paper-based artworks. Azusa Pacific University art historian Daichendt (Artist Teacher) draws on his academic knowledge and interviews with arts professionals, photographers, collectors, and, most significantly, the street artists themselves to muse on street art as a statement about the failure of modernism and its blurry borders with advertising, celebrity, and establishment art. Rather than analyzing individual works or artists, Daichendt focuses on the phenomenon itself; its roots in graffiti, skate-and-surf culture, and Los Angeles murals, and its relationship to the traditional art world, although articles critiquing some artists’ works appear in appendixes. Unfamiliar readers may be frustrated by the lack of identifying captionsartist credits are only provided in tiny, crowded print at the back of the book, but arguably this choice is justified by the anonymous, outlaw nature of the work itself. - Publishers Weekly