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Thanks so much - Russell
Paul Zwartkruis collected paintings of modern and contemporary artists. Later on, he started to collect lithographs, etchings and woodcuts and bought a book about the School of Paris (École de Paris), in which an international group of artists such as Picasso, Matisse, Braque, Laurencin, Delaunay, Chagall and others were described.
These artists from the first half of the 20th century had his special interest. Back in the nineties, Paul stumbled upon a book about Matisse, the book disclosed 5 colorful (visual art) stencils, that turned out to be pochoirs. Pochoirs are handmade reproductions of artwork, produced in Parisian ateliers by female staff members during the period 1920-1960. A very costly, labor-intensive technique.
Masters of the Pochoir
A tour d'horizon, by Paul Zwartkruis (Netherlands)
For The Writer's Drawer
<<< Hand movements with the pompom at the Jacomet atelier
Pochoir: “the most versatile and luxurious reproduction process in modern time"
John Bidwell, curator of the Graphic Arts Collection at Firestone Library
Picasso, Braque, Van Dongen, Miro, Matisse, Dufy, Léger, Modigliani, Rouault and many other artists worked in Paris in the first half of the 20th century. They asked other people to make hand-crafted illustrations of their work – pochoirs. The artists had rediscovered this technique, which is of Japanese origin. They thus added an unparalleled quality to contemporary colour illustrations.
Pochoirs are highly realistic, manual reproductions of works of art. But it was not the artist himself who made the pochoirs. The technique was far too complicated. In about 50 specialized workshops in Paris female colourists produced these gems, which are characterized by a marvellous vibrancy of colour. Various templates, brushes and paint (water-gouache, silver or gold paint) were used in order to achieve this effect. For a simple pochoir, some figures or texts were cut from thin metal foil or plastic. These stencils were then placed on paper or some other surface. Nowadays, street artists such as Banksy and Vhils frequently use this reproduction technique when creating their art.
In the early years of Stencil Archive, Hao (Stencil Archive here and 2004 interview here) began submitting his stencils from the streets of Paris. He supported the project, and was also excited to be part of the 2009 Stencil Nation book project. I never got to meet him in person, but knew that he was inspired by DIY, ska, punk, Pacific Island culture, and the lowbrow Los Angeles art style.
What I remember most about Hao is his enthusiasm, encouragement, and anticapitalist belief that stencils are for the streets, free for everyone to enjoy. He kept a low online profile, didn't seek gallery exhibits or even notariety beyond the Paris streets. He also inspired others to get in on the stencil fun, which is how I only recently found out about his death around 2012/3.
Staying in touch with him was difficult. At one point, he friended me on Facebook, but used an alias. He sent me a PM telling me that it was Hao from France. Eventually I lost touch with him again.
Sadly, I will finally get to visit Paris this summer, but I will not get to meet Lord Hao. As soon at the tickets were booked, I searched online to try to figure out a way to find him, and I only found a few memorial posts about his passing.
So here is a belated farewell to an artist I admired, both for his talent and his kindness. Rest In Paint, Hao. You are missed!
Street Artist 'Sign-Bombs' Downtown Neighborhoods With 450 'Honey Bears'
Mon. January 29, 2018, 4:34pm
by Nathan Falstreau for hoodline
Street art is part of San Francisco's landscape, but one local artist recently installed hundreds of pieces of his work to spark a conversation about using public spaces as a canvas for self-expression.
Over the weekend, fnnch [Stencil Archive album], best known for his depictions of honey bears, ladybugs, seashells, flamingos and turtles, fastened 450 pieces to utility poles between Market and Harrison and the Embarcadero and 5th Street. To comply with city rules for posting signs, he mounted the artwork using zip ties.
The installation, which features an array of honey bears and was billed as "sign bombing," aims to bring attention to what the artist deems "an excessive and absurd amount of [legal] signage." According to fnnch, adhering a "simple sticker" to public property could result in possible felony or misdemeanor charges.
The artist hopes to sway future legislation with the work and has teamed up with Care2 to start a petition urging members of the Board of Supervisors to decriminalize certain types of street art. As of this writing, the petition has garnered 10,816 signatures of support out of a goal of obtaining 11,000.
In particular, fnnch wants the city to decriminalize the application of stickers and wheatpaste—a removable adhesive that's commonly used by street artists.
“What I want to do is show the absurdity of our laws," he said in a statement. "Had these signs been affixed with adhesive to the poles, I could go to jail, but if they are put up with tape or a zip-tie, then it not only becomes legal to hang them up, but illegal for anyone to take them down.”
In remembrance of our artist friend, we invite you to come and celebrate Michael Roman’s creative works. Michael was a long time artist-in-resident and supporter of the Mission Cultural Center. His signature works left a lasting legacy for the Bay Area Community and beyond. We honor his artistic contributions by showcasing some of his works. This exhibition will feature works from personal collections.
JANUARY 26, 2018 | $5 Admission | Inti-Raymi
JAN 26th - FEB 17th, 2018 | $2 Admission | Inti-Raymi
UK-based artisan Omid Asadi traded in his boxing gloves and engineering career to focus on his craft since leaving his native Iran: turning large leaves into beautiful carved sculptures.