Ever since anonymous spray-can art began appearing on city walls in New York and Philadelphia in the late 1960s, graffiti has been a ubiquitous presence in the urban landscape, its artists largely unsung heroes. As hip-hop culture spread from America, graffiti became a worldwide phenomenon, emerging in the 1980s as the symbolic artistic language of young people everywhere and o...(展开全部)

‘The beauty, skill and imagination that spills from each page makes you wonder how such work could ever be classified alongside the kind of mindless vandalism you see in your average toilet block’ 　　　– TNT Magazine 　　'… brilliantly charts the developments and trends of what has now become a truly global phenomenon' 　　　– Computer Arts 　　‘Likely to become staple reference m...(展开全部)

Ever since anonymous spray-can art began appearing on city walls in New York and Philadelphia in the late 1960s, graffiti has been a ubiquitous presence in the urban landscape, its artists largely unsung heroes. As hip-hop culture spread from America, graffiti became a worldwide phenomenon, emerging in the 1980s as the symbolic artistic language of young people everywhere and o...(展开全部)

《芝麻与百合》这书收入两篇演讲词，发表于1864年，第一篇题目为《帝王的宝藏》(Of Kings' Treasure)，对象是男孩子。所谓宝藏，是指图书馆，「芝麻」取义于《阿里巴巴与四十大盗》(Ali Baba and Forty Thieves)中开啓宝藏之门的咒语「芝麻开门」。这篇演辞中的教训就如那句咒语，打开知识的宝库—图书馆。第二篇《皇后的花园》(Of Queens' Garden)，对象是女孩子，女孩子就是皇后花园里的百合花。

“A stranger could drive through Miguel Street and just say ‘Slum!’ because he could see no more.” But to its residents this derelict corner of Trinidad’s capital is a complete world, where everybody is quite different from everybody else. There’s Popo the carpenter, who neglects his livelihood to build “the thing without a name.” There’s Man-man, who goes from running for...(展开全部)

“A stranger could drive through Miguel Street and just say ‘Slum!’ because he could see no more.” But to its residents this derelict corner of Trinidad’s capital is a complete world, where everybody is quite different from everybody else. There’s Popo the carpenter, who neglects his livelihood to build “the thing without a name.” There’s Man-man, who goes from running for...(展开全部)

Mark Cohen is a restless poet of a photographer. In GRIM STREET he demonstrates his enormous ability to grasp a winking moment of life in the back streets, isolated fleeting views of the ordinary made extraordinary. This very fine book of photographs is less attuned to compositionally correct images as emotionally charged ones. As such it is a monograph of the smarmy, dark, see...(展开全部)

In this classic satire of small-town America, beautiful young Carol Kennicott comes to Gopher Prairie, Minnesota, with dreams of transforming the provincial old town into a place of beauty and culture. But she runs into a wall of bigotry, hypocrisy and complacency. Main Street established Lewis as a major American novelist.

Mark Cohen is a restless poet of a photographer. In GRIM STREET he demonstrates his enormous ability to grasp a winking moment of life in the back streets, isolated fleeting views of the ordinary made extraordinary. This very fine book of photographs is less attuned to compositionally correct images as emotionally charged ones. As such it is a monograph of the smarmy, dark, see...(展开全部)