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Thanks so much - Russell
By Deborah Netburn
Feb. 22, 2018
<< Photo: A color-enhanced hand stencil from Spain’s Maltravieso cave, likely made by a Neanderthal. Photo courtesy of the University of Southampton.
A red hand stencil. A series of lines that look like a ladder. A collection of red dots.
These images, painted in ocher on the walls of three separate caves in Spain, are the oldest-known examples of cave art ever found. And new research suggests that all three were created not by humans, but by our ancient cousins the Neanderthals.
In a paper published Thursday in Science, an international team of archaeologists shows that each of the three paintings was executed at least 64,000 years ago — more than 20,000 years before the first modern humans arrived in Europe.
“This work confirms that Neanderthals were indeed using cave walls for depicting drawings that had meaning for them,” said Marie Soressi, an archaeologist at Leiden University in the Netherlands who was not involved in the study. “It also means that our own group, the one we call anatomically modern humans, is maybe not so special.”
For most of the last century, researchers have argued that our Neanderthal cousins were intellectually inferior to their modern human contemporaries — incapable of symbolic thought and possibly devoid of language. This, in turn, was used to explain why the Neanderthals disappeared from Eurasia about 40,000 years ago, not long after modern humans arrived there.
However, archaeological evidence revealed over the last two decades tells a different story. We now know that Neanderthals were sophisticated hunters who knew how to control fire, and that they adorned themselves with jewelry and took care to bury their dead.
Decrying Real Estate Developer’s ‘Insolence,’ Judge Awards Street Artists $6.7 Million in Landmark 5Pointz Case
The ruling is a decisive victory for street artists.
Eileen Kinsella, February 12, 2018 (Artnet)
In a dramatic conclusion to a landmark case, a judge has ruled that a New York developer must pay $6.7 million to a group of graffiti artists to compensate for painting over their work without warning in 2013. The decision represents a decisive victory for street artists in a case that pitted their rights against those of a real estate executive.
The artists sued the developer, Gerald Wolkoff, for violating their rights after he whitewashed their work at the famous 5Pointz art mecca in Long Island City to make way for condos. A jury ruled in favor of the artists in November, but it remained up to a judge to determine the extent of the damages.
In a 100-page decision handed down today, Judge Frederic Block awarded $150,000 for each of the 45 works for a total award of $6.75 million.
“5Pointz was its temple, though it can never be replaced, this judgement is a monumental step for our culture and our art form,” Jonathan Cohen (also known as Meres One), the former director of 5Pointz, said in an email to artnet News. “Judge Block’s decision will change the art form perception for generations to come.”
Judge Block had harsh words for Wolkoff and the 2013 whitewashing episode in particular. He wrote: “If not for Wolkoff’s insolence, these damages would not have been assessed. If he did not destroy 5Pointz until he received his permits and demolished it 10 months later, the Court would not have found that he had acted willfully.”
TXMX (his archive), Stencil Archive's longest and most prolific collaborator, has sent his annual stack of photos to add to the site. His general photos are easier to check for duplicates and upload. Here is the first part of his photos, from Hamburg and Spain. In the coming weeks the rest of TXMX's stack, attributed to Hamburg and other artists, will go up with other fresh updates.
Stay tuned, and deep thanks (as always) to Mr. TXMX!
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.”