"We decided to leave [our Twenty-third street loft] on October 20, 1972.... Robert [Mapplethorpe] and I stood together alone in my section of the loft. I had left some things behind - the lamb pull toy, an old white jacket made of parachute silk, PATTI SMITH 1946 - stenciled on the back wall- in homage to the room like one leaves a portion of wine to the gods." - Just Kids by Patti Smith (p. 208)
Welcome to StencilArchive.org, home for thousands of photographs, videos, etc. from the stencil-loving community and has been sharing negative space since 2002. How can you support this site (beyond submitting pics, videos, etc.)?
- Take a San Francisco tour. Two to choose from.
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Thanks so much - Russell
The Dotmaster, a UK artist, started painting on the streets of Brighton in the early ’90s. He takes a sideways look at a populist media with a typically English sense of humour. His work is impeccably detailed – his half-tone work, stark black and white street pieces and unique, photo-real colour stencils all create street-based illusions that fool the eye.
STRØK / anders gjennestad – IS A NORWEGIAN STENCIL ARTIST WHO EXHIBITS IN GALLERIES; ON STREET WALLS HE GOES BY THE ALIAS STRØK. HIS HAND CUT MULTI LAYERED STENCILS CREATE PHOTOREALISTIC IMAGERY, WITH DEPTH AND DETAIL THAT IS COMPLEX, TACTILE AND MENTALLY ENGAGING. THE PLACEMENT AND CHOICE OF MATERIAL PAINTED ON, RUSTY METAL, GRITTY WALLS, SHINY GLASS, DEPICTS THE NATURE OF THE SUBJECT AND ENABLES THE WORK TO INTERACT WITH THE SPACE.
1AM Gallery is pleased to present "Memento Mori" a new collection of works by the profound stencil artists C215 and Logan Hicks. Memento mori, Latin for "remember (that you have) to die" is the medieval Latin theory and practice of reflection on mortality, especially as a means of considering the vanity of earthly life and the transient nature of all earthly goods and pursuits.
Join us for the opening of this exhibition Thursday, September 17th, 6:30-9:30pm. This event is free and open to the public. For inquiries or art catalog preview email Artsales@1amgallery.com
OUTSIDE IN 4 by
04th September 2015 to 20th September 2015
PV Wednesday 9.09.2015, 6.30-9.00pm
Exhibition Open: Friday 4th September - Sunday 20th September
The Muse Gallery in association with Portobello Film Festival are presenting their annual group show of some of London's finest contemporary urban artists.
Artists include: #codefc, The Krah, Tizer, False, Kres, and AK47
San Francisco hitting up graffiti vandals with costly civil suits
By C.W. Nevius for the SF Chronicle
August 21, 2015 Updated: August 21, 2015 5:16pm
Everyone knows how difficult it is to stop the graffiti tagging epidemic in the city. First, it’s nearly impossible to catch anyone in the act. And if cops do, a criminal case in the courts often results in minor consequences, like a few hours of community service.
A walk down virtually any graffiti-tagged street in the city tells you criminal charges aren’t having much of an effect.
So, San Francisco is changing the game. We’re making it personal.
In an innovative and clever legal maneuver, the city attorney’s office is asking the courts to treat the city like any other property owner and allow it to sue for damages to pay for graffiti cleanup. It makes for some odd phrasing when the complaint says, “Plaintiff is . . . the owner of real personal property in San Francisco, consisting of Muni buses.”
But that’s how San Francisco has filed a civil suit against a woman officials say is an infamous serial tagger. The city alleges that Cozy Terry (her real name according to the complaint) tags as “Coze” and is responsible for 28 separate acts of vandalism on city buses. In all, the 41-page complaint lists 58 cases of tagging and adds up the cost of cleanup and repair. The total should get the attention of graffiti scofflaws.
“It is at least $53,788,” said Jill Cannon, one of the two deputy city attorneys who is making the case. “I don’t know what her assets are, but if we get a judgment we will seek to collect.”
Banksy's offical site, with a map: http://www.dismaland.co.uk/map/
Rumors collected at the Daily Beast.
Dismaland is the name of Banksy’s gloriously subversive theme park that is heavily rumored to be opening this weekend—that is Friday, August 21—in the UK. Pictures of its mysterious construction in the seaside resort town of Weston-super-Mare in Somerset, England, began surfacing online late last week.
According to the Bristol Post, the amusement park is being billed as a “sinister twist on Disneyland,” and includes a pink dystopian version of the Magic Kingdom’s Cinderella Castle, a horse-like sculpture, an S-shaped gas tanker [Mike Ross's Big Rig Jig from Burning Man], and various other oddball attractions. The mammoth structure(s) is being built at the Tropicana, a 10,200-square-foot lido site that’s been abandoned since 2000, and the area’s reportedly been closed off for the past several months under the guise of a Hollywood film shooting there called Grey Fox. The construction site had signs reading “Crew Notice Grey Fox Productions” put up around it to distract onlookers, and the so-called film project claimed it was produced by Charles Roven’s company Atlas Entertainment—behind the upcoming Batman v. Superman: Dawn of Justice—and directed by Declan Whitebloom, whose representative denied he was in Weston-super-Mare according to The Daily Mail. Banksy’s representative Jo Brooks could not be reached for comment.
10 years after his graffiti campaign, the artist known as Borf paints a new life
By Rachel Manteuffel :: August 13 (Original Washington Post article)
Read about Borf's arrest and sentence here.
John Tsombikos, 28, 10 years after his campaign of graffiti and cryptic messages covered the city. (Roger Erickson/For The Washington Post)
The artist previously known as Borf, though that was never his name, is 10 years older than he was when his whimsical, mysterious graffiti campaign in Northwest Washington got him adored and despised and incarcerated.
He’s 28, sort of. He lives in New York now. He won’t say where, exactly. He says that’s irrelevant. He says he does no work that would compromise his anti-corporate, anti-authoritarian principles, but also refuses to say how he supports himself or whether he lives in a place his parents own in Manhattan, as some records suggest, or if he is working some sort of soul-numbing day job, the kind he publicly sneered at, to support his painting habit.
He also won’t let you take a picture of him. You can only shoot his art, but not him. If he thinks you’re trying to sneak a picture, he turns away or holds a hand over his face. He’s reluctant to talk about what his art means, but in the end he will blurt something so revealing that it explains just about everything. He will hate these paragraphs if he reads them.
<<<< Yoda on paper in Paris; photo by Anna
France (thanks Anna)
Stephane Moscato (just one)
Chicago (just one; thanks Brent)
>NEW< Mig Kokinda (TX)
Lay It On Thick (just one)
The Mission (thanks Josiah)
Valencia St. (thanks Josiah)
[From Stencil Archive: At what point is public art part of the problem of gentrification? When is corporate manipulation and intrusion too much for a community to bear? Can public art be created without thinking about the environment, the wall it is painted on, and the community in mind? What are the limits of making money for one's art as opposed to the created pieces being part of the problem of massive evictions and migrations of lower-income and working class populations? These questions have been stewing for months now, and there is surprisingly little writing on these issues. Megan Wilson, co-curator of the Clarion Alley Mural Project, pushes back and contemplates these sometimes blurry lines between selling out and paying the rent. Below is an essay she wrote that touches on some of the above questions. For a much better version, with photographs and links, please go to stretcher and read the original. Thanks, Megan, for allowing a repost of this important angle on some of the behind-the-scenes manipulations that are going on in the condo-boomtown that is San Francisco.]
The Gentrification of our Livelihoods: Everything Must Go…
by Megan Wilson
Preface: When I began researching and writing The Gentrification of our Livelihoods in early March 2014 one of my primary interests was the impact that the collaboration between Intersection for the Arts and developer Forest City’s creative placemaking 5M Project is having on the existing communities that have invested in and called the South of Market home prior to the tech booms. Having worked with many community-based organizations within the SoMa community for the past 18 years, I’ve had deep concerns about the development’s impact for the neighborhood and its impact on the future of Intersection.
However, I would not have predicted the announcement that Intersection made on May 22nd to cut its arts, education, and community engagement programs and lay off its program staff would come as soon as it did. What began as a reflection on the shortcomings of creative placemaking as a tool for economic development and its implications on gentrification and community displacement has become a cautionary tale for arts and community organizations to question and better understand the potential outcomes of working with partners whose interests are rooted in financial profit.