Historical Item

Apr 28 : Wooster Collective presents 41st Parallel

On Wednesday April 28th from 7-10pm, Wooster Collective and Drago will present a hot and heavy round table discussion and Q&A session to explore the current happenings in today’s art movement with nine of the top names from the streets of New York: Chris Stain, Elbow-Toe, Ivory Serra, Logan Hicks, Pax Paloscia, Swoon, WK Interact, as well as Drago Publisher Paulo von Vacano and Wooster Collective’s Marc and Sara Schiller at their super chic venue Meet at the Apartment in SoHo.

Ivory Serra (The Serra Effect), Logan Hicks (Arrivals and Departures), Pax Paloscia (Let the Kids Play), and WK Interact (2.5 New York Street Life) all published books for Drago’s 36 Chamber Series box collection. Chris Stain, Elbow-Toe, Swoon, and WK Interact contributed their work to The Thousands: Painting Outside, Breaking In, a book and exhibition curated by RJ Rushmore and published by Drago.

Graffiti's Story

February 5, 2010

Graffiti’s Story, From Vandalism to Art to Nostalgia

Original NYTims article appears here

Eric Felisbret stood by a chain-link fence, watching three men spraying graffiti on a backyard wall in Upper Manhattan. One man smiled and invited him over.

“You can go around the corner and when you see a sign for a seamstress, go in the alley,” the man said. “Or you can jump the fence, like we did.”

Mr. Felisbret, 46, chose the long way. Not that he is unused to fence-jumping. In the 1970s, that was one of his skills as a budding graffiti writer who stole into subway yards. Using the nom de graf DEAL, he was part of the Crazy Inside Artists, a legendary crew from East New York, Brooklyn. This time, though, instead of wielding a spray can, he pulled out a camera and took a quick snapshot of the artwork, done with the landlord’s permission.

If these scrawls could talk - Tom Sevil and Melbourne's Alt History

If these scrawls could talk

September 23, 2009

Original Article Here

Urban activist Tom Sevil leads a tour of political graffiti in search of an alternative history of Melbourne. Andrew Stephens reports.

TOM Sevil is up a laneway inspecting some 1970s graffiti. He likes these places. He's a stencil artist, graffitist and graphic designer, but also something of an archaeologist, because the work at hand here is but a fragment, partly buried beneath rich layers of history.

In white house paint applied with a brush, not an aerosol, this graffito no longer makes sense. It says: Frazer is a bottled toad in a trust - and there it ends, forever to remain a mystery, its final words obscured by years of others' graffiti.

This fragment, a bastardisation of a phrase from Shakespeare's Richard III, is more poetic than most of the illegible tags scrawled about the laneway. It might once have had something insightful (but misspelt) to say about Malcolm Fraser, then prime minister of Australia. But in this world of laneways and rapid-fire guerilla action, the scrawls, tags, posters and stencils are all ultimately temporary.

For Sevil, quality and longevity aside, it is all about political action.

The Teleport Caper: Beyond the Pale (1976)

The Teleport Caper: Beyond the Pale
by David Wills

One grey day Sunday in January 1976, after I had been visiting with the graphic-designer Barney Bubbles, I walked from The Barbican four miles to stay at what had been my old flat on Basset Rd. with the vivacious Lucinda Cowell*, whom I had met one Saturday in the Bridge kaff on Portobello.

Somewhere on the journey, around Camden Town, I found a sombrero that added to my somewhat odd appearance. By the time I got to Notting Hill, and having sprayed my recently cut stencil in a couple of places, I got too careless and was busted, literally red handed, spray paint dribbling, as I stenciled, on a traffic-light control box, “Street Lightnin’ Gang Rules Easy, OK.”

This art was one of a series of cardboard stencils I had designed that related to SLG President Molly (now Mrs. Mark Bode) Rodriguez’s ‘World Teleport’ system of world free transport. It was an early green solution to reduce world pollution from cars and planes, World Teleport’s tag line is “Get’s you where you want to go, in your own time.” (A line that was later adopted by the Grateful Dead.) All one has to to do is brand a space with a stencil, (it can be on paper) and there’s your teleport. If you really want to, you’ll get there one way or another.

1967 Mad Follies Stencil Special

xSacto sends another historical stencil artifact. Mad Magazine inserted about a dozen stencils in their fifth Mad Follies (1967), with illustrated instructions by Al Jaffee. The illustrations encouraged kids to alter signs, dupe adults, and create mischief with the cut outs. Oddly enough, I found a stencil of Alfred E. Neuman up on Haight St. a few weeks ago that was made from this 40+ year old stencil!

Tom Robinson Band: 1978 LP Stencil Insert

The TRB fist logo was designed in early 1977 by Roger Huddle from Rock Against Racism. The concept of the name placed around a fist was "borrowed" from the Gay Liberation Front, while the colour scheme and typeface were suggested by Tom. Roger adapted his fist drawing from a Black Panthers publication, and also used it as a logo for the Socialist Workers Party.

The original LP version of "Power In The Darkness" (1978) in the UK contained a cardboard stencil of the TRB logo with the words: "THIS STENCIL IS NOT MEANT FOR SPRAYING ON PUBLIC PROPERTY".

Click here to view (or right-click to download) a black-on-white PDF file of the logo to print, cut out and spray as required.

Fits on a single sheet of A4 paper or card, slightly smaller than the original album stencil. For the full size version, adjust "page setup" on your computer to print at 150%.

Kilroy Was Here, a Story

Not a stencil story, but worth posting as a classic reminder of human's urge to get up:


In 1946 the American Transit Association, through its radio program, "Speak to America," sponsored a nationwide contest to find the REAL Kilroy, offering a prize of a real trolley car to the person who could prove himself to be the genuine article.

Almost 40 men stepped forward to make that claim, but only James Kilroy from Halifax, Massachusetts had evidence of his identity.


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