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Thanks so much - Russell

11 April: Swoon at Brooklyn Museum

Submerged Motherlands


April 11–August 24, 2014
Iris and B. Gerald Cantor Gallery, 5th Floor

Brooklyn-based artist Swoon celebrates everyday people and explores social and environmental issues with her signature paper portraits and figurative installations. She is best known for her large, intricately-cut prints wheat pasted to industrial buildings in Brooklyn and Manhattan.

For this exhibition, Swoon creates a site-specific installation in our rotunda gallery, transforming it into a fantastic landscape centering on a monumental sculptural tree with a constructed environment at its base, including sculpted boats and rafts, figurative prints and drawings, and cut paper foliage.

Often inspired by contemporary and historical events, Swoon engages with climate change in the installation as a response to the catastrophic Hurricane Sandy that struck the Atlantic Coast in 2012, and Doggerland, a landmass that once connected Great Britain and Europe and that was destroyed by a tsunami 8,000 years ago.

Swoon: Submerged Motherlands is organized by Sharon Matt Atkins, Managing Curator of Exhibitions, Brooklyn Museum.

2.15: A Saturday with C215

February, 15, from 5 pm to 8 pm

No need anymore to introduce C215 who is well-known by by urban art lovers but also a large audience, as much in France as worldwide. His stencils have flourished in cities all over the world and in Vitry-sur-Seine, the town he is currently living in, a outdoor museum of urban art since 2009.

The Paris based Galerie Openspace is now delighted to welcome C215, a stencil art master, in partnership with Print Them All, around a signing, a print release and an exhibition.

After a first book published in 2009, Critères Publishing was not able to resist publishing one again 5 years later. Far away from a fashion flow, the success of C215 is well-deserved. So here is the 41st opus délit released in bookstores and at Galerie Openspace.
Christian Guémy aka C215 will be present for signing his book "Un maître du pochoir" published in the Opus Délits collection, along with the author Christian Omodeo (Le Grand Jeu).

In partnership with the online gallery dedicated to limited editions of ubran contemporary artists Print Them All, Galerie Openspace organizes the exclusive release in France of a lithography recently edited by Idem. 15 copies have been put aside for Paris ! Each copy is unique and hand painted by the artist.


TXMX drops 100s of pics for the Stencil Archive

Special Uploads to the Stencil Archive
Straight from TXMX in Hamburg, DE!
need more TXMX? Here's his flickr stream: http://www.flickr.com/photos/txmx-2/

TXMX has been a long-time member of Stencil Nation, submitting photos to the Archives since almost the beginning back in 2005. Of course he's picked up the blade and cut his own stencils. Hundreds of them, making it impossible to curate which ones I already have. When I get a message from TXMX that he's about to send me a zip file of his pics, I get excited. Then I roll my sleeves up and cull out the duplicates, rename, and upload.

Here you go for all to enjoi - Russell

uploading musika: Holy Modal Rounders ::: TOOL

>NEW< Bogey Clan

>NEW< jeto

>NEW< lopside foe

>NEW< marshal arts

>NEW< mimi the clown

>NEW< mittenimwald

>NEW< robi the dog

>NEW< run don't walk

>NEW< tomahawk

In the streets of Hamburg

Other German cities





Dr. Ocioso (just one)

Los Piratos (just one)






txmx himself!


Blek,Thinking of L.A.

Blek Le Rat, 'Father of the Street Stencil,' Thinking of L.A.
By Ed Fuentes | on January 16, 2014
Link: http://www.kcet.org/socal/departures/columns/writing-on-the-wall/blek-le...
Archive: https://www.stencilarchive.org/archives/index.php/search?q=blek

Stencil street art is strategic in its placement and monochromatic imagery, allowing graphic arts to become guerilla responses to environmental and social conditions in one swift glance. The urban art form can be found in all major cities, but it thrives in Los Angeles. It didn't have to evolve much from its original source, Blek le rat, the French artist who began stenciling on Parisian walls in the 1970s and 1980s. With the growth of stenciled art in Los Angeles, not to mention around the world, it's important to consider why he's called the "Father of Stencil Graffiti."

Or, at least, to know that he came before Banksy (and a case ccould be made that Banksy directly lifted style and execution of Blek le rat).

Blek Le Rat's first repeated image was rodents roaming walls. "The rat is a rebel, the sole wild animal in the city," he said about his moniker in the L.A. Times in 2008. "They're smart, and they know exactly how to get around. There's another reason I like them: The word 'rat' is an anagram for 'art.'"

Blek le Rat visited New York during its more rebellious time, and returned to France. Not wanting to imitate that city's artists, he chose the stencil as his new form of unauthorized contemporary urban art. Writing on the Wall touched based with the artist to discuss his works and why he has L.A. on his mind.

Writing on the Wall: You say your life is shaped by the way culture was formed by different centuries. How does your work fall into the idea that culture is destiny?

Blek le rat: I wanted to say everyone culture is part of it's destiny.

The Story of an Artist: Victor Gastelum

The Story Of An Artist: Victor Gastelum

Interview with Victor Gastelum.

“Victor is the fifth Beatle, he is the silent one that no one really ever sees.”

—Joey Burns, Calexico

Words: Craig Carry, Artwork: Victor Gastelum


Original Post (with artwork): http://fracturedair.com/2014/01/29/the-story-of-an-artist-victor-gastelum/

“Love the run but not the race
All alone in a silent way
World drifts in and the world’s a stranger”

—‘Quattro (World Drifts In)’, Calexico

In an attempt to write the story of the Long Beach California-based artist Victor Gastelum, it is tempting to simultaneously write the story of Tucson Arizona’s beloved sons Calexico. For, across the band’s vast body of sprawling, timeless work — encompassing a string of studio albums, tour records, a plethora of EP’s, soundtrack scores and a multitude of collaborative works — the artwork of Gastelum’s adorn some of the most precious of Calexico’s records since their inception in 1996, following core-duo Joey Burns and John Convertino’s previous spell as rhythm-section to Howe Gelb’s Giant Sand; another one of Tucson’s most revered bands. Victor Gastelum, a native of Southern California, would provide the artwork for one of the band’s earliest releases, “Spark/The Ride”, a single put out in 1996, prior to the band’s full-length debut “Spoke” (released by Quarterstick Records in the following year). The music (both written by Burns) can be perfectly summed up by the description found inside, set in all-lowercase, on a black-and-white postcard-sized insert:

The Not Art Stencil is Meant to Inspire Wonder

The ‘Not Art’ Stencil Project Is Meant to Inspire ‘Wonder’
The tagger responsible for one of the most prominent outdoor art stencils talks about his motivation behind the paint.

By Steve Annear  | Arts & Entertainment  | January 20, 2014 3:01 pm


Some people view it as a message that calls attention to bland, often ignored objects in plain public view, while others have said that it’s pointless tagging that merely defaces local property.

But it’s that conversation between two sides of the argument, and the confusion that leaves people wondering what it means, that the creator of the “Not Art” stencil wants to happen in order to make a human connection based around his project.

“It creates this dialogue and gets people thinking. I feel like I have built something that works. I didn’t know if it was going to work at first, but it works,” said the Somerville resident behind the stenciling, who asked to remain anonymous.

The “Not Art” tag can be seen in numerous places in the Boston area, including along stretches of Mass. Ave. near MIT campus, emblazoned on construction signs in Back Bay, and splashed prominently on the abandoned gas station marquees near Somerville’s McGrath Highway.

In each setting, the artist said he relied on turning temporary objects—those found at construction sites or decrepit, abandoned pieces of property battered by the weather and left to decay—into the centerpiece for each individual artwork.

About 100 new uploads to Stencil Archive

Photo distractions for a lazy Monday ::::: 19,300 photos in the Stencil Archive and counting!

Thanks for the submissions and leads. Special Hamburg-focused upload coming soon :::::

>NEW< Amanda Marie (CO)

Afghanistan (military stencil graff)

Canada (just one)

>NEW< ZeroSix

Ha-Ha (just one)

Northern California (happy birthday, David Solnit)

Colorado (just two, thanks Mark)

NYC (just one)

South Carolina

xsacto (just one)

>NEW< Choppy Oshiro

>NEW<  CJ Grossman


Eddie Colla (just one)

Kate DeCiccio (just one, thanks Raven)

Lay it on Thick (just one)

Michael Roman

Scott Williams

Haight and Divisadero Streets

The Mission

Clarion Alley

Richmond District (just one)

Western Addition

The Castro (just one)

SoMa and the FiDi

Other neighborhoods

Until Feb. 1: Amanda Marie (SF, CA)

Amanda Marie

I Was Just Thinking


January 11 - February 01, 2014
Amanda Marie has a deeply rich visual language, with 100's of stencils creating a massive vocabulary of imagery that is both comforting and spooky at the same time. Never heavy-handed, but with subtle hints and nostalgic vision she pulls viewers into her work with imagery dominated by children and totemic animals reminiscent of Golden Books-era illustration. Upon deeper inspection, Amanda's character placement invokes powerful feelings on more mature themes like sexuality and the loss of innocence, greed, happiness, envy and elation. 


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