2003 publication documenting graffiti crews through bold photography and interviews.
Category: Curated
File Under: Graffiti Culture, Urban Documentation, Subcultural Publishing
Description
Published in 2003 by ECW Press and compiled by Paul Labonté (aka Paul 107), this 175-page volume presents graffiti writing as a global practice of space-taking, risk, urgency and anonymity. Labonté—a Montréal-based writer/author, photographer, publisher and curator—draws his pseudonym “107” from the bus route through the neighbourhoods where he grew up.
Filled with colour photographs of tags, throw-ups, cross-outs and burners, the book presents first-person reflections from writers operating 4 a.m. missions, stealing paint, outrunning authority, and navigating vandalism for visibility. It traces the visual, material and territorial logic of graffiti culture.
This copy is a single unit in good used condition, suited both for reading and for display. As a piece of print culture, it stands at the intersection of photography, subculture and documentary publishing—valued equally for its visual archive and its candid style.
2003 publication documenting graffiti crews through bold photography and interviews.
Category: Curated
File Under: Graffiti Culture, Urban Documentation, Subcultural Publishing
Description
Published in 2003 by ECW Press and compiled by Paul Labonté (aka Paul 107), this 175-page volume presents graffiti writing as a global practice of space-taking, risk, urgency and anonymity. Labonté—a Montréal-based writer/author, photographer, publisher and curator—draws his pseudonym “107” from the bus route through the neighbourhoods where he grew up.
Filled with colour photographs of tags, throw-ups, cross-outs and burners, the book presents first-person reflections from writers operating 4 a.m. missions, stealing paint, outrunning authority, and navigating vandalism for visibility. It traces the visual, material and territorial logic of graffiti culture.
This copy is a single unit in good used condition, suited both for reading and for display. As a piece of print culture, it stands at the intersection of photography, subculture and documentary publishing—valued equally for its visual archive and its candid style.
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