Since the 2011 Arab Spring street art has been a vehicle for political discourse in the Middle East, and has generated much discussion in both the popular media and academia. Yet, this conversation has generalised street art and identified it as a singular form with identical styles and objectives throughout the region. Street art's purpose is, however, defined by the socio-cultural circumstances of its production. Middle Eastern artists thus adopt distinctive methods in creating their individual work and responding to their individual environments. Here, in this new book, Sabrina De Turk employs rigorous visual analysis to explore the diversity of Middle Eastern street art and uses case studies of countries as varied as Egypt, Tunisia, Lebanon, Palestine, Bahrain and Oman to illustrate how geographic specifics impact upon its function and aesthetic. Her book will be of significant interest to scholars specialising in art from the Middle East and North Africa and those who bring an interdisciplinary perspective to Middle East studies.

Since the 2011 Arab Spring street art has been a vehicle for political discourse in the Middle East, and has generated much discussion in both the popular media and academia. Yet, this conversation has generalised street art and identified it as a singular form with identical styles and objectives throughout the region. Street art's purpose is, however, defined by the socio-cultural circumstances of its production. Middle Eastern artists thus adopt distinctive methods in creating their individual work and responding to their individual environments. Here, in this new book, Sabrina De Turk employs rigorous visual analysis to explore the diversity of Middle Eastern street art and uses case studies of countries as varied as Egypt, Tunisia, Lebanon, Palestine, Bahrain and Oman to illustrate how geographic specifics impact upon its function and aesthetic. Her book will be of significant interest to scholars specialising in art from the Middle East and North Africa and those who bring an interdisciplinary perspective to Middle East studies.

Presents a collection of anti-war graffiti images from around the world.

For members of Cairo's upper classes, cosmopolitanism is a form of social capital, deployed whenever they acquire or consume transnational commodities, or goods that are linked in the popular imagination to other, more "modern" places. In a series of thickly described and carefully contextualized case studies—of Arabic children's magazines, Pokémon, private schools and popular films, coffee shops and fast-food restaurants—Mark Allen Peterson describes the social practices that create class identities. He traces these processes from childhood into adulthood, examining how taste and style intersect with a changing educational system and economic liberalization. Peterson reveals how uneasy many cosmopolitan Cairenes are with their new global identities, and describes their efforts to root themselves in the local through religious, nationalist, or linguistic practices.

The Egyptian Revolution that began on 25 January 2011 immediately gave rise to a wave of popular political and social expression in the form of graffiti and street art, phenomena that were almost unknown in the country under the old regime. Mia Gröndahl, a noted photographer, has followed and documented the constantly and rapidly changing graffiti art of the new Egypt from its beginnings, and here in more than 430 full-colour images celebrates the imagination, the skill, the humour and the political will of the young artists and activists who have claimed the walls of Cairo and other Egyptian cities as their canvas. Punctuated by interviews with some of the individual artists whose work has broken fresh ground.

A powerful portrayal of the Egyptian Revolution, telling the story with striking images of art that turned Egypt's walls into a visual testimony of bravery and resistance. Even the army tanks that rolled onto Tahrir Square were immediately adorned with graffiti. This survey of current Egyptian street art looks at the most influential artists who have made their iconic marks on the streets. Spanning Cairo, Alexandria and Luxor, this is a document of the volatile and fast-shifting political situation there. Since the start of the Arab revolution the Middle East has seen an unparalleled explosion of graffiti. * With contributions by experts in the fields of typography, graphic design, sociology and Egyptology These images of the revolution taken by acclaimed photographers and activistsvplaces the graffiti of the revolution in a broader context, and examines the historical, socio-political and cultural backgrounds which have shaped the movement.

A collection of essays examining the role and power of images from a wide variety of media in today’s Middle Eastern societies. This timely book examines the power and role of the image in modern Middle Eastern societies. The essays explore the role and function of image making to highlight the ways in which the images “speak” and what visual languages mean for the construction of Islamic subjectivities, the distribution of power, and the formation of identity and belonging. Visual Culture in the Modern Middle East addresses aspects of the visual in the Islamic world, including the presentation of Islam on television; on the internet and other digital media; in banners, posters, murals, and graffiti; and in the satirical press, cartoons, and children’s books. “This volume takes a new approach to the subject . . . and will be an important contribution to our knowledge in this area. . . . It is comprehensive and well-structured with fascinating material and analysis.” —Peter Chelkowski, New York University “An innovative volume analyzing and instantiating the visual culture of a variety of Muslim societies [which] constitutes a substantially new object of study in the regional literature and one that creates productive links with history, anthropology, political science, art history, media studies, and urban studies, as well as area studies and Islamic studies.” —Walter Armbrust, University of Oxford