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"The transporting thrill of stumbling across a particularly witty, beautiful or provocative piece of urban art never loses its appeal. And it's something that's captured particularly well in Trespass: A History Of Uncommissioned Urban Art, (TASCHEN) a large-scale book that considers urban art across the spectrum and the decades. From aerialist Philippe Petit's tightrope walk between the Twin Towers and the first stirrings of graffiti art in 1970s New York to the globally celebrated work of the likes of Banksy, Shepard Fairey and Blu, Trespass celebrates these boldly determined artists, who refuse to accept conformity, the constrictions of consumerism or the status quo, however ephemeral their expression of defiance ends up being. Some urban art is an act of 'contra-consumerism', such as French artist Zevs's 'liquidated' series (Liquidated McDonald's, 2005, pictured). Some pack a weighty political punch (Ernest Pignon-Ernest Pieta For The Aids Generation, in Durban, for instance); some can make you laugh; some can make you want to cry (Paul Harfleet's The Pansy Project sees him revisit spots where he has been subjected to verbal homophobic abuse and plant pansies as close as possible to the site); and some just pull you up short with their touchingly transitory beauty."— Metro, London, Royaume-Uni
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"The transporting thrill of stumbling across a particularly witty, beautiful or provocative piece of urban art never loses its appeal. And it's something that's captured particularly well in Trespass: A History Of Uncommissioned Urban Art, (TASCHEN) a large-scale book that considers urban art across the spectrum and the decades. From aerialist Philippe Petit's tightrope walk between the Twin Towers and the first stirrings of graffiti art in 1970s New York to the globally celebrated work of the likes of Banksy, Shepard Fairey and Blu, Trespass celebrates these boldly determined artists, who refuse to accept conformity, the constrictions of consumerism or the status quo, however ephemeral their expression of defiance ends up being. Some urban art is an act of 'contra-consumerism', such as French artist Zevs's 'liquidated' series (Liquidated McDonald's, 2005, pictured). Some pack a weighty political punch (Ernest Pignon-Ernest Pieta For The Aids Generation, in Durban, for instance); some can make you laugh; some can make you want to cry (Paul Harfleet's The Pansy Project sees him revisit spots where he has been subjected to verbal homophobic abuse and plant pansies as close as possible to the site); and some just pull you up short with their touchingly transitory beauty."— Metro, London, United Kingdom
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"The transporting thrill of stumbling across a particularly witty, beautiful or provocative piece of urban art never loses its appeal. And it's something that's captured particularly well in Trespass: A History Of Uncommissioned Urban Art, (TASCHEN) a large-scale book that considers urban art across the spectrum and the decades. From aerialist Philippe Petit's tightrope walk between the Twin Towers and the first stirrings of graffiti art in 1970s New York to the globally celebrated work of the likes of Banksy, Shepard Fairey and Blu, Trespass celebrates these boldly determined artists, who refuse to accept conformity, the constrictions of consumerism or the status quo, however ephemeral their expression of defiance ends up being. Some urban art is an act of 'contra-consumerism', such as French artist Zevs's 'liquidated' series (Liquidated McDonald's, 2005, pictured). Some pack a weighty political punch (Ernest Pignon-Ernest Pieta For The Aids Generation, in Durban, for instance); some can make you laugh; some can make you want to cry (Paul Harfleet's The Pansy Project sees him revisit spots where he has been subjected to verbal homophobic abuse and plant pansies as close as possible to the site); and some just pull you up short with their touchingly transitory beauty."— Metro, London, Reino Unido
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