{"text_format":"2","workbook":"xls","n_sheets":1,"sheets":["report2"],"not_rendered":{"charts":0,"images":0,"macros":0,"external_links":1,"defined_names":1,"comments":0,"pivot_tables":0},"unopened":[],"bounds":{"document_bytes":16777216,"sheet_cells":100000,"run_cost":"one","rows_first":2000,"rows_last":500,"rows_between":2000,"halvings":0,"cell_chars":16384,"cell_head_chars":4096},"cells_cut":0,"cells_raw":0,"read":"whole","date_system":"1900","formulas":"cached_only"}

{"sheet":"report2","index":0,"n_rows":15,"n_cols":5,"rows_kept":15,"cut":false,"hidden":false,"merged":[[0,2,0,3],[0,4,0,5],[1,2,1,3],[1,4,1,5],[2,2,2,3],[2,4,2,5],[3,2,3,3],[4,2,4,3],[5,2,5,3],[6,2,6,3],[7,2,7,3],[11,2,11,3],[12,2,12,3]],"flags":["formulas_cached_only"]}
[null,"1.","Record Nr.",null,"UNINA9910874751203321"]
[null,null,"Autore",null,"Gralińska-Toborek Agnieszka"]
[null,null,"Titolo",null,"Grafitti i street art. Słowo, obraz, działanie / Agnieszka Gralińska-Toborek"]
[null,null,"Pubbl/distr/stampa",null,"Łódź [Poland], : Wydawnictwo Uniwersytetu Łódzkiego, 2019"]
[null,null,"ISBN",null,"83-8142-238-8"]
[null,null,"Descrizione fisica",null,"1 online resource (1 p. 284)"]
[null,null,"Collana",null,"Uniwersytet Łódzki"]
[null,null,"Soggetti",null,"Fine Arts / Performing Arts"]
[{"$nulls":4},"Art"]
[{"$nulls":4},"Sociology of Art"]
[{"$nulls":4},"Art - History"]
[null,null,"Lingua di pubblicazione",null,"Polacco"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Sommario/riassunto","Street art is the most popular, dynamically evolving art form in the world today. It also has the largest audience. At the same time, it remains ephemeral, variable and limitless, and is subject to continuous processes of commercialization, institutionalization and mediatization. As a fruit of the remix culture, street art draws on everything that has already appeared in art: it mixes, transforms, copies and pastes. It cannot be easily defined, and the existing criteria for evaluating art seem inapplicable in its case. In no way should this imply, however, that street art cannot be analyzed. In the book, the author describes selected problems of street art and graffiti using both traditional and contemporary concepts, terminology and methods. She focuses on the relationship between word and image, on highlighting the invisible. The reader learns about street art in both its serious and comic manifestations. The author does not strive to exhaust the subject; on the contrary, she puts forward a preliminary reflection on this still unbridled and expansive form of artistic expression, thus initiating a discussion which the world of art will probably soon pick up."]