Copyright 2001 Cahners Business Information, Inc.版权2001年cahners商业信息，公司

Product Description 产品描述

"In the beginning, there was the Word. On the streets and in the yards, the word was the Name. And the name was everything. It was persona and place, form and content, truth and fiction. The name was an act of self-invention, a pure visual manifestation, through alter ego, alias, and nom de plume, of personal expressions in the public realm. The name was a line and the line begat the Mark. Then, in the great style wars toward the end of the second millennium, medium, meaning, and message were joined in a golden era where the name became the source and signifier of Style. And when the name became wild style, the word was Dondi." “在开始时，有字。在街上，以及在码，字的名称。和名称是一切，这是人物和地点，形式和内容，真相与小说。名称的行为自我发明，一个纯粹的视觉表现，通过改变自我，别名，名称德柱，个人表现在公共领域。名称是线和线begat商标，然后在伟大的作风，战争接近尾声对第二个千禧年，中，意义，及讯息加入了在一个黄金时代的地方的名称，成为来源和signifier的作风。而当名字成为野生作风，这个词是dondi “ 。

-- from the Foreword -从前言

The dominance of the graffiti aesthetic in contemporary culture is undeniable.主导权的涂鸦美学在当代文化是无可否认的。 But how did an art form spawned in the train yards of 1970s New York achieve the ubiquity it now enjoys at every level of the mass-media landscape?但如何做一个艺术形式，促成在火车码的20世纪70年代在纽约实现无处不在，它现在享有的每一个层次上了大众传媒的景观呢？ There are many answers to the question, but one major factor is indisputable: Dondi White.有很多问题的答案，但一个主要因素是不争的： dondi白色。

Coming of age in hardscrabble East New York in the early 1970s, Dondi White unknowingly began the process of introducing a whole new artistic dialect into the cacophony of the American art scene.时代的到来在hardscrabble东新纽约在70年代初期， dondi白在不知不觉中开始的过程中引入一个全新的艺术方言进入杂音的美国艺术现场。 His train pieces painted from roughly 1977 to 1982 stand as some of the most influential works ever committed to Transit Authority steel.他的作品画的列车从大约1977年至1982年的立场，正如一些最有影响力的工程，任何时候都致力于运输管理局的钢。 Writing with legendary partners such as DURO, NOC 167, KID 56, KEL 139, and FUZZ ONE, Dondi created some of graffiti art's most enduring iconography.写作与传奇的合作伙伴，如duro ，奥委会167 ，孩子56岁， kel 139 ，模糊一， dondi创造了一些涂鸦艺术的最持久的影像。 His pieces just don't stop -- and neither do the aliases.他的作品，只是不停止-和，也没有别名。 From the badass Mr. Whites to the cocky, self-satisfied Busses, from the nasty Pres to the perfect, vicious Rolls, Dondi straight killed it, again and again.从badass先生白人向刺耳，自我满意总线，从恶劣的介绍，向完美的，恶性卷， dondi直杀死它，一而再，再而。 Works like Children of the Grave Part 2 and Mr White + Bev remain benchmark pieces for graffiti aficionados the world over.工程一样， 儿童的严重第2部分议员及白+ bev保持基准件为涂鸦爱好者的世界。

In the 1980s, partially through his collaborations with noted photographers Henry Chalfant and Martha Cooper, Dondi White's work entered the rarefied world of fine art.在八十年代，部分通过他的合作与摄影师，唐英年指出， chalfant和Martha库珀， dondi白色的工作进入了稀薄的世界美术。 In making the transition from subway car to canvas, Dondi retained his unfaltering sense of letter form and balance, and his paintings remain a testament to the clarity of his aesthetic.在决策过渡，从地铁车辆，以油画， dondi保留他的unfaltering意识，信的形式和平衡，他的画仍然证明了的清晰度，他的审美。 Dondi's canvases were subsequently shown in galleries from New York to Amsterdam to Tokyo and beyond, influencing a new generation of young artists and introducing an indigenous American art form to the rest of the world. dondi的画布上，其后显示，在画廊，从纽约到阿姆斯特丹，东京和超越，影响了新的年轻一代的艺术家和引进美洲土著的艺术形式向世界其余地区。