AINAC is based out of Brooklyn, NY. He made his first appearance in NY in late 2012. Ever since then, AINAC has been marking his territory with his tag of a presidential head of Abraham Lincoln. For several months, AINAC's tag of Abraham Lincoln as well as other significant and controversial pieces of artwork have been displayed throughout the boroughs of NYC. With constant improvement and continuous progression in his artwork, AINAC's work has evolved and developed into a unique and original style. The very latest series of work that he has been putting his time and effort into is titled the “Construction Series” which stems from the craftsmanship being implemented. This series includes hand-built, hand-sanded shadow box frames, with 3 dimensional scenery and images. This series of work also consists of various backgrounds including leather and wood to set the bar high for other artists. Various new pieces are shown on AINAC's website in effort to promote a new form of hands-on artwork.
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
Who owns street art?
21 September 2015 By Tim Maxwell, Becky Shaw, Andrew Bruce for Law Society Gazette
In a judgment handed down on 11 September in The Creative Foundation v Dreamland Leisure Limited  EWHC 2556 (Ch), the High Court held that a tenant was not entitled to remove a Banksy mural from the wall of its leasehold property and must deliver it up to the claimant.
As well as being one of the first cases to consider the ownership of street art, it also raises points of general importance in landlord and tenant law.
The mural in question, ‘Art Buff’ (pictured), appeared on the back of an amusement arcade in Folkestone in late September 2014 during the Folkestone Triennial, a public art event organised by the Creative Foundation, a charity promoting the arts as part of the regeneration of the town. Art Buff quickly became popular locally, but just over a month after it first appeared, the tenant of the property, Dreamland Leisure Ltd, arranged for the mural to be cut out of the wall, without the landlord’s knowledge or permission, and then sent to the US where it was offered for sale.
"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)
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.