Thing's I Don't Remember

I had stopped by the antisocial skateshop,
http://www.antisocialshop.com/skate/
Where I purchased a signed copy of a book "Things I Don't Remember" by Andrew Pommier, and actually meet Andrew in the store during my brief 10 minute visit. The book is a collection of Andrews work, from sketches, to oil on canvas, and computer generated characters. He holds a funny because its sad perspective in his renderings.

"His pictures provoke a feeling of loss and isolation between people and nature-characters hiding out in animal costumes, smoking their lives away, destroying their bodies-these themes speak of a great divide, as well as showcasing Pommier's ironic sentimentality for misfits and castaways." Adam Brodie


http://andrewpommier.com

Exit Through The Gift Shop

The incredible true story of how the world's greatest Street Art movie was never made...

The story begins with an eccentric French shop keeper, Thierry Guetta. Who is an amateur film maker attempting to locate and befriend Banksy, a notorious and secretive street artist. The story comes with twist when we find the artist turning the camera back on its owner. Billed as 'the world's first street art disaster movie' the film contains exclusive footage of Banksy, Shephard Fairey, Invader and many of the world's most infamous graffiti artists at work.

http://www.banksyfilm.com/

Street Art Short Documentary

A short three part graffiti documentary
PART 1 - http://www.youtube.com/watch?v=mdVTosM8ncQ
PART 2 - http://www.youtube.com/watch?v=VuPdbft48ho&feature=related
PART 3 - http://www.youtube.com/watch?v=3KsSZUiJbnQ&feature=related

The term Street Art has evolved to define the more visual and engaging aspects of urban art, as opposed to simply text-based graffiti and tagging. This film follows such notorious cult figures as: Blek Le Rat, Nano 4814, Nuria, Sweet Toof, NoNose, and Eine, as they work upon the pavements of Paris Londonand Madrid During the film we pursue these characters as they create new pieces and discuss the varying approaches to Street Art in these three diverse cities.

We also meet some of the artists taking part in the first ever Street Art exhibition at Tate Modern, and explore the rapidly expanding commercial market that's turning street artists into big earners at the auction houses. What does this newfound profitable aspect mean for this formerly underground and anti-establishment scene?

Subconscious Art

Subconscious Art-a product of artistic merit that was created without conscious artistic intentions.

ProjectRoom London

ProjectRoom London can be compared to a free jazz session. It's about artist collaborating on a piece, trying to evolve with a picture. You don't know if it's going to be good, you don't know if it's going to be bad, but you do it. You can't be precious.

http://vimeo.com/12976033

Wooster Collective

The Wooster Collective site was founded in 2001, it is dedicated to showcasing and celebrating ephemeral art placed on streets in cites around the world. The site is updated weekly with amazing footage of project, ranging from all the mediums of street art. they leave nothing behind.

http://www.woostercollective.com

The Faith of Graffiti

Book Description

"The Faith is the bible of graffiti. It forever captures the place, the time, and the writings of those of us who made it happen." —Snake I

In 1973, author Norman Mailer teamed with photographer Jon Naar to produce The Faith of Graffiti, a fearless exploration of the birth of the street art movement in New York City. The book coupled Mailer's essay on the origins and importance of graffiti in modern urban culture with Naar's radiant, arresting photographs of the young graffiti writers' work. The result was a powerful, impressionistic account of artistic ferment on the streets of a troubled and changing city—and an iconic documentary record of a critical body of work now largely lost to history.

This new edition of The Faith of Graffiti, the first in more than three decades, brings this vibrant work—the seminal document on the origins of street art—to contemporary readers. Photographer Jon Naar has enhanced the original with thirty-two pages of additional photographs that are new to this edition, along with an afterword in which he reflects on the project and the meaning it has taken on in the intervening decades. It stands now, as it did then, as a rich survey of a group of outsider artists and the body of work they created—and a provocative defense of a generation that questioned the bounds of authority over aesthetics.