Mr. Savethewall è un artista comasco che agisce secondo il metodo della deriva e del détournement situazionista per proporre opere che interpretano temi e costumi della società contemporanea in chiave ludica o polemica, ironica o dissacrante.
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Thanks so much - Russell
Thanks, as always, to Josiah, Xsacto, @only_stencil_archive (via IG), r/stencils, r/streetart, and Brooklyn Street Art
Photo: Giving Thanks in London!
>NEW< 0907 in China
>NEW< Cut paper and shadow box art of Lucia Szulman (AR)
>NEW< JMS (CH)
>NEW< Ryan Winchell (Sacramento, CA)
Just one from Xsacto
A topical stencil from Israel
COVID-19 stencil in Russia
COVID-19 stencils from UK
A COVID-19 stencil in Culver City, LA, CA
COVID-19 related, etc. in NYC
Found In Media
Yon on Fillmore St., SF
On Fillmore St., SF
On Valencia St., SF
In The Mission, SF
COVID-19 in SoMa, SF
DOCTEUR BERGMAN is a prolific PARIS-based stencil artist equipped with a PhD in molecular biology. Acutely aware of all the vivisectionist atrocities done in the name of scientific advancement, DOCTEUR BERGMAN is under no false illusion about the current state of affairs between non-human animals and human animals. Through the grids of his stencils, the artist helps us look straight at how our lame and amorphous society is (not) confronting the political and social issues of our day.
Artista romano poliedrico, versatile, eclettico, la sua arte emozionante e suggestiva specialmente nei suoi disegni si fa più cruda e più immediata nei dipinti, chiaramente significativi del tempo che stiamo vivendo.
Il suo modus operandi si concretizza in opere che riflettono e rielaborano il clima artistico della street culture dell'America degli anni settanta, ma anche di graphic artists, contemporary artist e painter più recenti.
I primi tentativi seguono i passi della pittura gestuale e materica, una sintonia inconsapevole del pittore autodidatta, una ricerca continua di un proprio stile e un proprio segno.
I think she would like these….
Music: Prog Stole Things (compilation) by Flubhead
Photo: After Life, on Valencia St., SF
>NEW< Ian Kuali’i
>NEW< Cucusita Stencil (IT)
>NEW< John D’oh (UK)
Mission District, SF (thanks, Josiah)
Berlin (just one)
France (just one)
Two from Iron (Sweden)
One from Palestine, by Cake (thanks, Brooklyn Street Art)
From aspiring breakdancer to accomplished artist, Ian Kuali’i traces his path so far
May 7th, 2020, 5:30PM / BY Justin Mugits, for Smithsonian Magazine
Artist Ian Kuali’i (Kanaka Maoli [Native Hawaiian] and Shis Inday [Mescalero Apache]) is known both for his cut-paper work and for his background in hip hop and graffiti. Ian visited the National Museum of the American Indian in New York last October as part of our Artist in the Galleries series, where he presented demonstrations of his art and answered visitors’ questions about it. He was scheduled to take part in our Children’s Festival during Asian and Pacific American Heritage Month this May, leading collaborative mural painting. After the Children’s Festival was postponed, I took the opportunity to talk to Ian about his influences as an artist and his evolution from aspiring breakdancer to accomplished, self-taught artist.
Growing up in the 1980s and ’90s, Ian spent time in both Hawai’i and Southern California, as his mother, Carolyn Melenani Kuali’i, moved back and forth for college and her work in Native health initiatives. Ian has always been connected to his Hawaiian roots through his mother’s teachings, and through his extended family of aunts and uncles in Hawai’i and the diasporic communities of Southern California. “The culture was always around,” he says, “so at any given moment, we might have some of the most influential figures in Hawaiian politics, like Huanani-Kay Trask, at our house in Irvine. There were hālau hula [schools of Hawaiian culture] all throughout Southern California.”
Ian was also impacted by the hip hop culture that was blossoming across the country. “We had a crew called Sick Block. My mom was going to the University of California Irvine at the time, and we would hang out at KUCI 88.9, the college radio station. And they had hip hop hour. At the same time there were b-boy [breakdancing] summits going on; there were a lot of legal graffiti walls like Huntington Beach. It was great times, going to African Student Union dances with my crew and battling people [in break dancing battles].” As Ian became more involved in hip hop culture, he realized that he wasn’t a very skilled emcee or DJ, so he began focusing on his graffiti writing.