Holiday

1 artwork

  • Say Goodnight Gracie Blotter Paper Archival Print by Herbie Greene

    Herbie Greene Say Goodnight Gracie Blotter Paper Archival Print by Herbie Greene

    Say Goodnight Gracie Blotter Paper Limited Edition Archival Pigment Print Art on Perforated Blotter Paper by Herbie Greene pop culture LSD artwork. 2021 Signed & Numbered with COA Archival Pigment Print on Perforated Blotter Paper Artwork Size: 7.5 x 7.5 Inches Release: April 19, 2021. Limited blotter editions are hand-perforated by Zane Kesey. Say Goodnight Gracie by Herbie Greene: Blotter Paper Resistance in Street Pop Art & Graffiti Artwork Say Goodnight Gracie is a 7.5 x 7.5 inch archival pigment print on perforated blotter paper by Herbie Greene, released on April 19, 2021. Signed and numbered with a certificate of authenticity, each piece in this limited edition was hand-perforated by Zane Kesey, reinforcing its symbolic roots in psychedelic counterculture. The print features a black-and-white photograph of Grace Slick, the iconic frontwoman of Jefferson Airplane, overlaid with colorized elements including a paisley red outfit and piercing cyan eyes. The backdrop includes Egyptian-inspired sketches and faded, spray-painted text reading Happy New Year, creating a layered composition that mixes defiance, memory, and cultural critique. Herbie Greene, a legendary photographer from the United States, was known for capturing defining moments of the 1960s San Francisco music scene. This print is more than just a photo—it is a protest embedded in a relic. Slick’s expression and raised middle finger become the central focal point, offering a timeless act of rebellion immortalized through photographic grit and street-inflected style. The surrounding textures—worn concrete, hand-drawn symbols, and fading graffiti—echo the raw surfaces used in Street Pop Art & Graffiti Artwork, reinforcing the voice of anti-establishment figures who spoke through walls, posters, and sound. Grace Slick, Counterculture, and the Power of Visual Protest The image of Grace Slick in Say Goodnight Gracie resonates deeply with the cultural spirit of the 1960s and its aftermath. Slick's role as a voice of psychedelic rock and protest was unmistakable, and this moment of visual resistance encapsulates that spirit perfectly. She does not perform; she confronts. Her multicolored attire, contrasted against a grayscale background, draws attention to individuality and dissent amidst uniformity and decay. The visual isolation of colorized features within a monotone space mimics the effect of street stenciling or wheatpaste posters, techniques commonly used in urban protest art to highlight voices against a muted backdrop of authority. The print format on blotter paper is significant. It bridges the documentation of music history with the tangible aesthetics of drug culture and underground art. Zane Kesey’s involvement in hand-perforating the editions ties this piece directly to the visual traditions of LSD blotter art, where iconography often merged political satire, celebrity, and surrealism. This connection reinforces the idea of art not just as commentary, but as a vehicle of transformation—mental, social, and spiritual. The Urban Palimpsest as Art Form Herbie Greene’s composition in Say Goodnight Gracie operates like an urban palimpsest. Layers of history, rebellion, femininity, and symbolism are built into every detail. The hieroglyph-like drawings add an archaeological tone, suggesting lost messages or forgotten rituals that still echo in the present. The crumbling wall texture and ghosted graffiti add urgency and vulnerability, as if the image could fade at any moment—just like the posters pasted on city walls, fleeting yet unforgettable. This quality is central to Street Pop Art & Graffiti Artwork, where temporality, public visibility, and emotion collide to create impact. Grace Slick’s raised hand and unflinching gaze are a signal, not just a pose. They challenge the viewer to consider where protest lives today. In Greene’s composition, the past is not frozen but reanimated on blotter paper, a medium that has transported minds beyond the visible world for decades. This visual dialogue between photography, protest, and psychedelic symbolism speaks not just to nostalgia but to the ongoing role of image as resistance. Herbie Greene and the Documentation of Rebellion Herbie Greene’s work captures moments that transcend the frame. By reissuing Say Goodnight Gracie on perforated blotter paper, he transforms documentation into object, memory into statement, and portrait into symbol. This choice elevates the piece beyond archival photography into the arena of Street Pop Art & Graffiti Artwork, where message and method matter equally. Greene, born in the United States, became known for his close work with artists like Jefferson Airplane, the Grateful Dead, and Janis Joplin. His lens documented a generation seeking transformation, and in this work, that spirit persists—vivid, fierce, and permanent on a medium built for moments that change everything. Say Goodnight Gracie is not just a tribute to a music icon. It is a distilled act of visual rebellion, sharpened by decades of cultural memory and executed on one of the most subversive print surfaces in art history. It offers a flash of resistance captured in time, formatted for the hand, the wall, and the mind alike.

    $631.00

Holiday Graffiti Street Pop Artworks

Celebratory Expressions: Holidays in Street Pop Art and Graffiti

With their vivid imagery and deep-rooted cultural significance, holidays have long provided fertile ground for artists working within pop art, street art, and graffiti. From the jolly, red-suited figure of Santa Claus to the macabre aesthetics of Halloween, the visual elements associated with holidays offer a rich palette for artistic exploration and commentary. In the hands of street pop artists and graffiti creators, these symbols transcend their commercial and traditional origins, transforming into something that reflects and critiques contemporary culture. The use of holiday motifs in street pop art is often aimed at invoking a sense of community and shared culture in our spaces. Graffiti artwork, with its inherent transience and public-facing nature, harnesses holiday themes to engage with a broader audience, transcending the barriers that typically segregate the art world from the layperson. Murals of oversized turkeys, hearts, shamrocks, or fireworks become more than seasonal decorations; they serve as communal touchstones that invite viewers from all walks of life to engage with the art intuitively.

Reimagining Traditions Through Urban Art

Street pop graffiti art has become a ubiquitous art form that thrives in the urban environment. The art form is usually characterized by vibrant colors, stylized fonts, and images that aim to convey a message or tell a story. Among the numerous themes that street pop graffiti art covers, holidays are an often-recurring subject. This article delves into the use of holidays as a topic in street pop graffiti art and the various artists who have utilized the theme in their works. Banksy, one of the most renowned street pop graffiti artists, is known for his witty and satirical take on various issues. Among the numerous themes that Banksy has tackled is holidays, and his graffiti art is entertaining and thought-provoking. In his work titled "Merry Christmas," Banksy features a young boy holding a machine gun while kneeling in front of a large graffiti text that reads, "Merry Christmas." The work is a commentary on the commercialization of Christmas and the loss of the holiday's true meaning. Another Banksy work that features a holiday theme is "Kissing Coppers," a graffiti image that shows two policemen kissing. The work, which was painted on the side of a pub in Brighton, UK, during the 2004 Brighton Pride Festival, is a celebration of love and freedom, and it shows that even those in positions of authority can break away from social norms and express themselves. Street pop art and graffiti often twist the ubiquitous symbols of holidays, offering new perspectives on familiar tropes. In doing so, they reflect the evolving attitudes toward these celebrations. A Santa Claus mural might be depicted not with his traditional jolly smile but with a contemplative expression, perhaps commenting on the commercialization of Christmas.
Meanwhile, Easter artworks may feature eggs and bunnies in unexpected contexts, challenging the viewer to reconsider the origins and meanings of these symbols. Reimagining holiday imagery within street pop art is not merely an aesthetic choice but also laden with potential social commentary. Artists often leverage the emotional resonance of holiday symbols to make pointed observations about societal issues. For example, a Valentine's Day piece might juxtapose the universal quest for love against the isolation or consumerism that can also characterize the holiday. Such works engage with the duality of holidays — as moments of celebration and reflection.

Street Art, Pop Culture, and Holiday Iconography

Pop culture plays a significant role in shaping the imagery associated with holidays, and street pop artists and graffiti creators draw upon this rich iconography to connect with a broader audience. The depiction of characters from holiday movies, television specials, and songs in street art brings a layer of shared media experience into the urban landscape. These pieces become points of reference that tie together the threads of pop culture, public space, and personal memory. In street pop art, holiday imagery is a universal language that can break down barriers and unite disparate groups. Whether through celebrating the winter holidays, the vivid colors of Diwali, the solemn remembrances of Memorial Day, or the festive atmosphere of Carnival, these symbols become a bridge, connecting the artist and the public in a shared cultural dialogue. Holidays provide a unique and powerful theme for street pop art and graffiti artwork. Through the lens of these celebrations, artists can explore and express a range of emotions and commentaries, from joy and togetherness to criticism and satire. The seasonal motifs that populate our calendars become, in the hands of these artists, a canvas for exploring the human condition, the complexities of society, and the role of tradition in an ever-changing world. Keith Haring, a street pop graffiti artist from the 1980s, was known for his bold and bright art style. His work often tackled social and political issues and frequently used religious imagery in his pieces. One of Haring's most recognizable works is "Untitled (Easter)," a graffiti image that features a cartoonish Easter Bunny holding an egg. The work is a fun and playful take on the Easter holiday, showcasing Haring's signature style. In addition to "Untitled (Easter)," Haring also created "Crack is Wack," a mural that features a prominent red figure with a raised hand and a message that reads "Crack is Wack" in bold letters. The mural, which was painted in 1986 in Harlem, New York, is a commentary on the crack epidemic that was ravaging the city at the time. Mr. Brainwash is a street pop graffiti artist who gained fame after being featured in the 2010 Banksy documentary "Exit Through the Gift Shop." Pop culture references, bright colors, and bold lettering often characterize his works. In his piece "Happy New Year," Mr. Brainwash features a colorful background with the words "Happy New Year" in large letters. The work is a celebration of the new year and the hope and optimism that it brings. In addition to "Happy New Year," Mr. Brainwash has created works on other holiday themes, including Valentine's Day and Halloween. His work often features playful and whimsical images that convey a sense of joy and happiness. Holiday-themed street pop graffiti art is influential because it brings attention to important issues and celebrates the holidays uniquely and creatively. It allows artists to express themselves publicly and reach a broad audience with their messages. Additionally, holiday-themed street pop graffiti art can remind us of the true meaning of holidays, which can often be overshadowed by commercialization and consumerism.
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