Prophets Of Rage New Day Rising Silkscreen Print by Shepard Fairey- OBEY Hand-Pulled 2-Color on Cream Speckletone Fine Art Paper Limited Edition Artwork Obey Pop Culture Artist. 2017 Signed & Numbered Limited Edition of 600 Artwork Size 18x24 Silkscreen Print Prophets Of Rage Rap Music Group Fist in the Air. Visual art and music often produce iconic imagery that transcends time, and Shepard Fairey's "Prophets Of Rage New Day Rising" silkscreen print is a prime example of this phenomenon. Created in 2017, this piece is a visually arresting representation of the rap music group Prophets of Rage, a band known for its socially conscious music and activism. This artwork is part of a limited edition series, with only 600 signed and numbered prints, further accentuating its exclusivity and collectible nature. Each print, sized at 18x24 inches, is a hand-pulled two-color silkscreen on cream speckletone fine art paper, a testament to Fairey's meticulous crafting process and his commitment to quality. Fairey, a stalwart figure in contemporary street art, often referred to by his Obey brand, infuses his works with pop culture references and political messages, and this print is no exception. The central image of a clenched fist raised in the air is a universal symbol of resistance and solidarity. This motif, set against a red star, resonates with the band's radical ethos and calls to mind a long history of protest art. The inclusion of skeletal figures and apocalyptic imagery on the periphery serves to highlight the group's message of political upheaval and the need for systemic change. This print is not just a piece of merchandise for fans of the band; it stands on its own as a significant work within pop art, street art, and graffiti art. Fairey's work bridges the gap between art and social commentary, embodying the spirit of hip-hop culture's roots in activism and public discourse. The stark contrast of colors and the use of a globe in the backdrop suggest a worldwide call to action, one that is reflective of the global influence of hip-hop culture itself. Moreover, Fairey's "Prophets Of Rage New Day Rising" is emblematic of the capacity of street art to elevate popular culture and political thought into the realm of high art. By appropriating the visual language of the streets and the urgency of rap music's social critique, Fairey delivers a powerful statement on the role of the artist as a social commentator and the potential of art to ignite conversation. This piece serves as a reminder of the potency of visual expression in pop culture and its ability to encapsulate the zeitgeist of a movement, a moment, or in this case, the fierce energy of a band like Prophets of Rage.

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The Lonesome Crowded West Tower Modest Mouse Silkscreen Print by Shepard Fairey- OBEY Hand-Pulled 5-Color on Cream Speckletone Fine Art Paper Limited Edition Artwork Obey Pop Culture Artist. 2022 Signed & Numbered Limited Edition of 825 Artwork Size 18x24 Silkscreen Print "I’m really happy that Modest Mouse asked me to create some limited edition posters for their tour commemorating the 25th anniversary of their 1997 album The Lonesome Crowded West. I first heard Modest Mouse in 1998. I borrowed a friend’s copy of the album The Lonesome Crowded West, which had come out the year before, and it grew on me quickly to become a favorite. The whole album is great, very multi-dimensional ranging from aggressive and dissonant on songs like “Teeth Like God’s Shoeshine” to folky, jangly, and intimate on “Trailer Trash.” My two favorite songs on The Lonesome Crowded West are “Doin’ the Cockroach,” which builds steadily into an exhilarating staccato guitar frenzy, and the song that follows it, “Cowboy Dan,” which is full of tension, struggle, anger, and beauty. Lyrically, the band’s singer and primary songwriter, Isaac Brock, comes across as an empathetic world-weary sage. I rarely call someone a poet, but Isaac wrote with such depth for someone only 23 years old that I think poet is the only title that properly conveys his elevated craft as a lyricist. I got to do Modest Mouse’s 2000 Black Glass tour poster, which was a huge deal for me." -Shepard Fairey- OBEY Marking the 25th anniversary of Modest Mouse's influential album "The Lonesome Crowded West," celebrated street artist Shepard Fairey, known as OBEY, crafted a striking limited edition silkscreen print. This 2022 piece, meticulously hand-pulled and comprising five colors on Cream Speckletone fine art paper, mirrors the layered complexity of the album it honors. The work measures 18x24 inches, a testament to the album's monumental impact on the alternative rock scene and Fairey's own artistic journey. Each of the 825 signed and numbered prints encapsulates Fairey's personal connection with the album, having first encountered its raw and eclectic sound in 1998, a year after its release. He describes the album as "multi-dimensional," resonating through its varied tones from the "aggressive and dissonant" to the "folky, jangly, and intimate." His favorite tracks, "Doin’ the Cockroach" and "Cowboy Dan," evoke contrasting emotions of exhilaration and introspective tension, revealing the dexterity of Modest Mouse's music and the profound lyrical skill of frontman Isaac Brock. In this piece, Fairey channels the essence of the album's themes, depicting an isolated tower amidst a vast, red-streaked landscape, symbolizing the album's exploration of urban isolation and the Western American experience. The contrast between the solitary building and the surrounding expanse eloquently captures the album's title, "The Lonesome Crowded West." This visual representation goes beyond mere album art; it is an intersection of Fairey's iconic style and Modest Mouse's sonic influence, bridging visual and auditory art forms. Fairey's engagement with Modest Mouse extends back to their 2000 "Black Glass" tour, for which he also created a poster. This long-standing relationship emphasizes the mutual respect between the artist and the band, illustrating how music and visual art can coalesce to form powerful cultural statements. His artistic expression is not only a tribute to the music but also an homage to Brock's poetic lyrics, which left an indelible impression on Fairey, prompting him to label Brock a true poet. As an influential figure in street art and pop culture, Fairey’s creation for Modest Mouse cements his position at the forefront of contemporary art. It serves as a visual anchor for the album’s legacy, ensuring that its cultural resonance extends into the visual realm. Collectors and fans of both the band and Fairey find in this print a confluence of two forms of rebellion and expression, solidified on paper but echoing far beyond.

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The Lonesome Crowded West Apt Block Modest Mouse Silkscreen Print by Shepard Fairey- OBEY Hand-Pulled 5-Color on Cream Speckletone Fine Art Paper Limited Edition Artwork Obey Pop Culture Artist. 2022 Signed & Numbered Limited Edition of 825 Artwork Size 18x24 Silkscreen Print Apartment Block Urban City Building Stylized. "I’m really happy that Modest Mouse asked me to create some limited edition posters for their tour commemorating the 25th anniversary of their 1997 album The Lonesome Crowded West. I first heard Modest Mouse in 1998. I borrowed a friend’s copy of the album The Lonesome Crowded West, which had come out the year before, and it grew on me quickly to become a favorite. The whole album is great, very multi-dimensional ranging from aggressive and dissonant on songs like “Teeth Like God’s Shoeshine” to folky, jangly, and intimate on “Trailer Trash.” My two favorite songs on The Lonesome Crowded West are “Doin’ the Cockroach,” which builds steadily into an exhilarating staccato guitar frenzy, and the song that follows it, “Cowboy Dan,” which is full of tension, struggle, anger, and beauty. Lyrically, the band’s singer and primary songwriter, Isaac Brock, comes across as an empathetic world-weary sage. I rarely call someone a poet, but Isaac wrote with such depth for someone only 23 years old that I think poet is the only title that properly conveys his elevated craft as a lyricist. I got to do Modest Mouse’s 2000 Black Glass tour poster, which was a huge deal for me." -Shepard Fairey- OBEY In the pantheon of street art, few names are as synonymous with the movement's thrust into mainstream culture as Shepard Fairey. His collaboration with the band Modest Mouse for their tour poster celebrates a milestone—the 25th anniversary of their seminal album, "The Lonesome Crowded West." In true Fairey fashion, he interprets the album's ethos with a limited edition silkscreen print, meticulously hand-pulled with five colors on Cream Speckletone fine art paper. This process ensures each of the 825 pieces is imbued with the artist's personal touch. Measuring 18x24 inches, this signed and numbered print presents an apartment block—an urban icon that exemplifies the crowded isolation in the album's title. Fairey's stylized depiction of the apartment block resonates with the band’s exploration of the paradoxical loneliness of urban existence, embodying the spirit of Modest Mouse's music through visual art. His work is not merely an artistic rendition but a narrative of city life's juxtapositions—connectivity and isolation, sound and silence. This collaboration is particularly significant for Fairey, who has been a fan of Modest Mouse since 1998. The album left an indelible mark on him, with its tonal shifts from the raucous "Teeth Like God's Shoeshine" to the more subdued "Trailer Trash." Fairey extols Isaac Brock's songwriting, acknowledging the profound depth and poetic nature of his lyrics, especially considering Brock's youth. The two tracks that stood out to Fairey, "Doin' the Cockroach" and "Cowboy Dan," exemplify the album's range and Brock's lyrical prowess. Fairey's history with Modest Mouse dates back to the 2000 "Black Glass" tour poster, reinforcing his long-standing connection with the band. This print is another chapter in that narrative, solidifying the kinship between his visual art and their musical expression. The artwork is a tangible piece of pop culture history, intertwining the legacy of Fairey's street art with Modest Mouse's contribution to music. Collectors of Fairey’s work and fans of the band alike cherish this print as a symbol of the enduring relevance of "The Lonesome Crowded West" and the power of art to transcend mediums, capturing the essence of an era.

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Just A Minor Threat Silkscreen Print by Shepard Fairey- OBEY Hand-Pulled on Cream Speckletone Fine Art Paper Limited Edition Artwork Obey Pop Culture Artist. 2023 Signed by Glen E Friedman x Shepard Fairey- OBEY & Numbered Limited Edition of 550 Artwork Size 18x24 Silkscreen Print Depicting Punk Rock Music Band Minor Threat & Ian MacKaye Stylized Raging Concert Photo by Glen E Friedman "I first heard Minor Threat in 1985 when I had been skateboarding and listening to punk and hardcore for a year. I was quickly becoming more confident, outspoken, and energized by D.I.Y. culture, and I was voraciously hungry for things that fuelled my emotional and intellectual evolution. Minor Threat was rocket fuel for my journey. Not only is their music a ferocious explosion of energy, but their playing is tight, and Ian MacKaye’s lyrics are intelligent and provocative. On top of that, Minor Threat created their own label, Dischord Records, to put out their music as well as records by other D.C. bands. Minor Threat and Dischord are profound influences on me, so I was very excited to collaborate with Glen on a Minor Threat print to celebrate the release of his new book “Just a Minor Threat.” Glen has the most intimate and powerful photos of Minor Threat, so it was possible to craft an illustration with strong images of all the band members. I’m also incredibly grateful to have the blessing of the members of Minor Threat." -Shepard Fairey- OBEY "Minor Threat is obviously one of the great foundations of hardcore punk rock. Inspiration for legions around the world, including Shepard and myself. As we’ve done with my last several books, Shepard and I got together and collaborated to make a print celebrating the release of the new publication. Shepard is one of my designing confidants and often gives me advice during my process of bookmaking so it makes sense that once the project comes to fruition, we enthusiastically make these prints of artists that inspire both of us. This print is based on separate images of each individual in the band as well as the always omnipresent audience that were a major part of incredible Minor Threat gigs. The book came out great and is different from previous books; it has its own voice, not only through the trove of never-before-seen photographs but also through the incredible essays throughout. Be inspired." -Glen E Friedman The intersection of punk rock and visual art finds a pulsating tribute in Shepard Fairey's silkscreen print titled "Just A Minor Threat." This limited edition piece, numbered to only 550 and signed by both Fairey and celebrated photographer Glen E. Friedman, crystallizes the essence of the iconic hardcore punk band Minor Threat. Created on Cream Speckletone Fine Art Paper and measuring 18x24 inches, the artwork commemorates not only the band's fierce energy but also the release of Friedman's new book. Minor Threat, fronted by Ian MacKaye, left an indelible mark on the punk scene with their explosive music and D.I.Y. ethos. This band didn't just play music; they ignited a cultural movement by establishing Dischord Records, encouraging self-expression and independence within the arts community. Fairey, himself a product of the skateboarding and punk cultures of the 1980s, attributes his confidence and outspoken nature to the catalytic influence of bands like Minor Threat. His collaboration with Friedman is not just a celebration of their shared inspirations but a manifestation of the band's impact on their creative and intellectual trajectories. The artwork vividly captures the raw intensity of a Minor Threat performance, with each member and the palpable energy of the audience rendered in a style that bridges the gap between photography and stylized illustration. This visual synergy complements the narrative of Friedman's book, which not only offers an array of unseen photographs but is peppered with essays that give voice to the era and the band's pivotal role in it. Fairey's print stands as a testament to the band's legacy and as a beacon for those fueled by the spirit of rebellion and authenticity that Minor Threat so potently symbolized.

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Revolution in our Time Silkscreen Print by Shepard Fairey- OBEY Hand-Pulled 5-Color on Cream Speckletone Fine Art Paper Limited Edition Artwork Obey Pop Culture Artist. 2020 Signed & Numbered Limited Edition of 500 Artwork Size 18x24 Silkscreen Print "Oct 1 is the 70th anniversary of Communist Party rule in China and the Chinese government is planning an extravaganza of choreographed contentment in the mainland while the people of Hong Kong will hit the streets in an effort to secure their rights. I’ve long believed that protests in the streets are an essential tool for meaningful change because the passion, courage, and visceral force of the participants in a mass protest send a powerful message that they are fully committed to their cause! Ed Nachtrieb photographed many incredible moments of the 1989 Tiananmen Square protests. I’m honored to collaborate with Ed on a set of two images based on his documentation 30 years ago, especially because pro-democracy and human-rights protesters are in the streets of Hong Kong right now! This image “Long Live The People” will be released as a print soon… more details to come. Check out Ed Nachtrieb’s thoughts on the 1989 Tiananmen Square protests." -Shepard Fairey- OBEY "After the People’s Liberation Army was sent in to suppress what is now called the “pro-democracy movement” on June 4, 1989, there was a liberalization of economic rules and policies. China then experienced a remarkable economic transformation. The idea: if people could get rich, they wouldn’t care so much about their freedoms. I think that’s a miscalculation. In Hong Kong today, ideas championed in 1989 have reappeared in a “Revolution of Our Time” in spite of the campaign to erase such “counter-revolutionary” thoughts from history. My images used in these prints are from energetic and optimistic moments of the pro-democracy movement. Victory was in the air. Progress seemed inevitable to those with arms outstretched and smiles beaming from their faces. Shepard’s work reflects their hopes and aspirations. The same ones that fortified those protesters in 1989 are now fuel for the passionate idealists on the streets today." -Edward Nachtrieb Shepard Fairey's "Revolution in Our Time" silkscreen print is a compelling narrative connecting past and present struggles for democracy and human rights. This piece, released in 2020, commemorates the 70th anniversary of Communist Party rule in China, juxtaposing the state's celebrations with the unyielding spirit of protest in Hong Kong. Fairey's collaboration with photographer Ed Nachtrieb is particularly significant, as it draws on images captured during the 1989 Tiananmen Square protests, thereby linking historical acts of resistance to contemporary movements. The artwork is a hand-pulled, 5-color print on cream speckletone fine art paper. With its size of 18x24 inches, the piece commands attention, demanding consideration not just as a visual expression but as a statement of solidarity. The edition is limited to 550 signed and numbered prints, making each a tangible artifact of political artistry. Fairey's design is charged with symbols of peace and resilience, as evidenced by the dove and the raised hand, iconic gestures of defiance and hope. Fairey is known for his stance that street protests are a crucial mechanism for social change, and this belief is visually encoded in the print. His art is not passive; it is an active participant in the dialogue around civil liberties and the collective voice of the people. "Revolution in Our Time" does more than commemorate an event; it propels the message of protest into the future, encouraging a reflection on the nature of authority and the power of the people's will. This limited edition print captures the essence of Shepard Fairey's approach to art as a form of rebellion and communication. It speaks to a universal yearning for freedom and justice, transcending borders and historical moments to unite viewers in a common cause. The work stands as a beacon to civic engagement's enduring relevance and visual art's impact in mobilizing and inspiring change within societies.

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Tom Dula White AP Artist Proof Silkscreen Print by Shepard Fairey- OBEY Hand-Pulled on Cream Speckletone Fine Art Paper Limited Edition Artwork Obey Pop Culture Artist. AP Artist Proof 2012 Signed & Marked AP Limited Edition Artwork Size 18x24 Silkscreen Print—Lonesome Tree Stylized Old Gnarled Tree in Western Desert Setting. Thomas C. Dula was a former Confederate soldier who was convicted of murdering Laura Foster, based on a song made famous by Kingston Trio. Shepard Fairey's "Tom Dula White AP" is a silkscreen print that fuses historical narrative with the artist's signature graphic style. Created in 2012, this piece is part of a limited edition set, hand-pulled with a color process on Fairey’s preferred medium, cream speckletone fine art paper. Each print in the series bears Fairey's signature and the distinctive 'AP' mark, denoting it as an Artist Proof. This status often holds higher value due to its rarity and direct connection to the artist's initial vision. Measuring 18x24 inches, the artwork presents a lone, stylized tree in a desolate Western desert setting. The barren landscape serves as a metaphorical backdrop to the somber tale of Thomas C. Dula, a former Confederate soldier whose name became immortalized in the folk song "Tom Dooley" following his controversial conviction and execution for the murder of Laura Foster. Fairey's choice to represent this narrative through a stark and solitary tree amidst an arid terrain reflects the isolation and finality of Dula's fate. This print stands out in pop and street art for its storytelling through visual symbolism. The work does not merely capture viewers' attention with its aesthetic but also invites them to engage with a deeper historical narrative, a characteristic often found in Fairey's body of work. It showcases the artist's ability to navigate the intersection of pop culture and fine art, where historical references become part of the modern visual lexicon. Shepard Fairey’s work frequently contains layers of meaning with a propensity for social commentary. With "Tom Dula White AP," the art is not only about presenting a visual narrative but also evoking an emotional response that connects the historical past with contemporary culture. This piece is a poignant example of how street art can transcend its urban origins, entering the gallery space as a powerful storytelling medium that bridges historical context and modern expression.

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Chuck D Black Steel Large Format Silkscreen Print by Shepard Fairey- OBEY Hand-Pulled on Cream Speckletone Fine Art Paper Limited Edition Artwork Obey Pop Culture Artist. 2018 Signed by Sheppard Fairey Janette Beckman and Chuck D. Numbered Limited Edition of 300 Artwork Size 24x36 Silkscreen Print of Music Rapper Chuck D of Public Enemy & Prophets of Rage. "Chuck D has long been a hero of mine as founder and lead rapper of Public Enemy, as an outspoken social and political voice, as an activist, and now as co-vocalist of Prophets of Rage. I’m always looking for excuses to collaborate with Chuck and celebrate his influence on me and culture in general, so I was very happy to work with him and Janette Beckman, whose hip-hop and punk photography I’ve loved for years. With the 30 year anniversary of Public Enemy’s “It Takes A Nation of Millions To Hold Us Back” coming up on June 28, I decided one of Janette’s photos of Chuck from that time would be great for me to illustrate as a tribute to my favorite MC and my favorite hip-hop album of all time. If you don’t own Public Enemy’s “It Takes A Nation of Millions To Hold Us Back,” learn what music at the pinnacle of it’s sonic, political, and revolutionary potential can be. Proceeds from this print will go to Central Coast Alliance United for a Sustainable Economy (CAUSE). All prints signed by Shepard, Janette Beckman and Chuck D. Thanks for the inspiration Chuck!" -Shepard Fairey- OBEY The intertwining of music and visual art finds a compelling expression in Shepard Fairey's "Chuck D Black Steel Large Format Silkscreen Print," a piece that stands as a testament to the enduring legacy of hip-hop's powerful voices. Released in 2018, this limited edition artwork is a collaboration that features the iconic presence of Chuck D, frontman of the seminal hip-hop group Public Enemy, captured through the lens of renowned photographer Janette Beckman, and reinterpreted by Fairey's distinct graphic style. This particular print celebrates a momentous occasion—the 30th anniversary of Public Enemy's "It Takes A Nation of Millions To Hold Us Back"—heralded as one of hip-hop's most influential albums. Fairey, known for his "OBEY" campaign and his significant role in pop culture and street art, often infuses his work with social and political commentary, echoing the ethos of Chuck D's artistry. His choice of Beckman's photograph for the illustration is deliberate, acknowledging her impact on hip-hop culture through her visual documentation. The collaboration between Fairey, Beckman, and Chuck D in creating this silkscreen print embodies a fusion of talents that pays homage to the past while making a statement in the present. The artwork features a black and white depiction of Chuck D, with a backdrop of words and images that echo the messages conveyed through his music—resistance, empowerment, and the fight against injustice. The print, sized 24x36 inches, was hand-pulled on cream speckletone fine art paper, further enhancing its tactile quality and exclusivity with a limited run of 300 signed and numbered editions. Fairey's decision to direct the proceeds from this print to the Central Coast Alliance United for a Sustainable Economy (CAUSE) aligns with the social advocacy inherent in Chuck D's music. This move not only celebrates hip-hop's cultural significance but also its potential for driving social change. The convergence of music, art, and activism in this silkscreen print underscores hip-hop's position as a vehicle for social commentary, with artists like Chuck D leading the charge and figures like Shepard Fairey amplifying the message through visual mediums. This piece is not just a collectible but serves as a narrative, an intersection where art meets the profound voices of a movement, continuing to inspire and provoke thought in a manner that is emblematic of both pop art and street art sensibilities.

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Revolution Girl Silkscreen Print by WK Interact x Shepard Fairey- OBEY Hand-Pulled 1-Color on Speckletone Fine Art Paper Limited Edition Artwork Obey Pop Culture Artist. 2007 Signed by WK Interact & Shepard Fairey- OBEY Limited Edition of 250 Artwork Size 18x24 Silkscreen Print. No Obey/WK Revolution Girl Prints Were Numbered in This Edition, and Half of WK Did not Sign; Both Artists Signed This Artwork. Small Crease to the Lower Right Facing Corner. "Revolution Girl" is a compelling collaboration between Shepard Fairey, the founder of OBEY, and WK Interact, an artist known for his dynamic street art. This one-color silkscreen print, produced in 2007, exemplifies a confluence of two distinctive styles that have shaped the visual vocabulary of street art and pop culture. Measuring 18x24 inches and printed on Speckletone fine art paper, the piece is part of a limited edition series with only 250. Significantly, this print is dual-signed by both artists, a rarity given that not all prints from this series were signed by WK Interact, and none were numbered, adding a layer of exclusivity to this artwork. The image is a stark, high-contrast depiction that conveys a sense of urgency and defiance, characteristic of Fairey's work, blended with the kinetic energy of WK Interact's approach to street art. The piece features a figure that is an assertive and revolutionary instance, capturing the ethos of protest and empowerment. This artwork speaks to the heart of street art’s purpose—to challenge norms and inspire change through visual disruption. The presence of a small crease on the lower right-facing corner of the print is a testament to its journey and authenticity, a nod to the often impermanent and rugged life of street art. By merging their distinct artistic signatures, Fairey and WK Interact create a narrative that is both a political and aesthetic statement, resonating with the core of pop art’s intent to blur the boundaries between 'high' art and 'low' culture. "Revolution Girl" stands not just as a work of art but as a cultural artifact that encapsulates the spirit of its era, where art became a loudspeaker for social and political discourse. This print is a testament to the influence of street art in the contemporary art scene, marking its evolution from the fringes to a recognized and vital form of artistic expression that engages public consciousness.

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MUSACK Terry Hall Tribute Silkscreen Print by Shepard Fairey- OBEY Hand-Pulled 2-Color on True White Speckletone Fine Art Paper Limited Edition Artwork Obey Pop Culture Artist. 2023 Signed & Numbered Limited Edition of 300 Artwork Size 18x24 Silkscreen Print. Lynval Golding & Team Specials, Billy Idol, Jane Wiedlin, Tim Armstrong, Tony Kanal, Tom Dumont, Adrian Young, Fishbone, Jerry Harrison, Tre Cool, Fred Armisen, Jesse Michaels. Donita Sparks.The Jg All-Stars. Bite Me Bambi. Record Safari Gig Poster "Terry Hall, singer of the Specials, one of my favorite bands, died of pancreatic cancer a little less than a year ago. This past Saturday, Musack did an amazing tribute to Terry with a bonkers lineup, including Horace Panter and Lynval Golding of the Specials, Jane Wiedlin of the Go-Go’s, Fishbone, No Doubt (except Gwen), Tom Morello, Tim Armstrong and Jesse Michaels of Operation Ivy, Donita Sparks of L7, and others! I fell in love with the Specials in the summer of 1989, around the time I started listening to Operation Ivy and Fishbone, so to have members of all those bands celebrating Terry was incredible! I was also able to do the poster for the event based on a beautiful photo by Chalkie Davies. There are two versions of the print, one with the event lineup included and another that is a simpler tribute to Terry. The black and white print are editions of 325, but the show lineup print is a smaller quantity (edition of 300) because many were sold at the event, and all proceeds from those benefit Musack, an excellent music charity for kids. On a personal note, Terry came by my studio a couple of times, and we talked for hours. He was kind, thoughtful, and very open about life’s ups and downs. We talked about kids, mental health, insecurity, relationships, the therapeutic benefits of creativity, and many other heavy topics. He was a kindred spirit who I thought I’d be friends with for many years. This print was done with love… thanks for the tunes Terry!" -Shepard Fairey- OBEY MUSACK's tribute to the legendary Terry Hall, the iconic singer of the Specials, is encapsulated in a visually arresting silkscreen print crafted by Shepard Fairey, renowned for his OBEY art movement. This piece, hand-pulled in 2-color on True White Speckletone Fine Art Paper, is a testament to the profound influence Terry Hall had on the music industry and its fans. The artwork is an exquisite fusion of pop art, street art, and graffiti art, embodying the very essence of Terry Hall's spirit and impact on the world. Released in 2023 as a signed and numbered limited edition, with only 300 prints in circulation, the artwork measures 18x24 inches. The artistry is profound, drawing inspiration from a poignant photograph Chalkie Davies took. Two versions of this print exist, one showcasing an event lineup and the other serving as a more streamlined homage to Hall. While the black and white prints are available in editions of 325, the one bearing the event lineup is more exclusive, with a count of 300, many of which were already acquired during the event. The backstory of this piece is equally captivating. MUSACK's heartfelt tribute event celebrated Terry's life, boasting a staggering lineup of eminent musicians, from Horace Panter and Lynval Golding of the Specials to Jane Wiedlin of the Go-Go’s, Fishbone, and members of No Doubt, among others. Shepard Fairey's interactions with Terry add depth to the artwork. Terry, in his visits to Shepard's studio, revealed layers of his personality, discussing topics ranging from mental health to the therapeutic nature of creativity. Shepard saw him as a kindred spirit, and their interactions were laden with deep understanding and mutual respect. This artwork, hence, is not just an aesthetic masterpiece but a heartfelt tribute, reverberating with the essence of Terry Hall's life and legacy.

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Creativity, Equity, Justice Silkscreen Print by Shepard Fairey- OBEY Hand-Pulled on Cream Speckletone Fine Art Paper Limited Edition Artwork Obey Pop Culture Artist. 2019 Signed & Numbered Limited Edition of 450 Artwork Size 18x24 Silkscreen Print "This print is a portrait of Anjel Newmann, Director of Programs and Youth Director of AS220 – a non-profit community arts organization based in downtown Providence with whom I’ve worked since the ’90s. AS220 is important to me because they have cultivated a creative community that continues to have a profoundly transformative impact on the city. I’m inspired by Anjel’s dedication to this organization, where she’s been a member since she was 13 years old, learning from a diverse set of communities and facilitating access to opportunities for young people across the city of Providence. Thank you Anjel and AS220 for all that you do for the people of Rhode Island!⁠" -Shepard Fairey- OBEY In the vibrant intersection where art meets activism, Shepard Fairey’s silkscreen print stands as a testament to the power of creative expression as a tool for social change. Released in 2019, this limited edition piece, signed and numbered with a run of 450, encapsulates Fairey’s longstanding commitment to community engagement through art. The 18x24 artwork, hand-pulled on Cream Speckletone fine art paper, is not only a visual treat but a beacon of inspiration, embodying the themes of creativity, equity, and justice. At the heart of this print is a portrait of Anjel Newmann, a figure who represents the enduring impact of AS220, a non-profit community arts organization in Providence, Rhode Island. Newmann's involvement with AS220 began at the tender age of 13, and her journey to becoming the Director of Programs and Youth Director showcases the nurturing power of such institutions in cultivating artistic talent and leadership among the youth. Fairey, having collaborated with AS220 since the 1990s, celebrates not only the individual journey of Newmann but also the broader ethos of the organization. AS220’s pivotal role in fostering an inclusive arts community and providing a platform for marginalized voices is central to Fairey's narrative. The artwork itself is a visual confluence of Fairey's signature style with poignant messaging. Words like "Creativity," "Equity," and "Justice" are prominently featured, aligning with the larger message that Fairey perpetuates through his work—art as a mechanism for societal upliftment and personal liberation. His use of bold, contrasting colors and geometric patterns draws the eye, compelling the viewer to contemplate the interconnectedness of the artistic elements with the profound themes presented. Fairey’s choice of Anjel Newmann as the subject speaks volumes about the role models that inspire his work. By highlighting Newmann's dedication to AS220, Fairey not only honors her and the organization but also emphasizes the importance of creative communities in driving positive social change. This print transcends its aesthetic appeal, standing as a symbol of hope and a call to action, urging viewers to rise above challenges and contribute to the collective journey towards a just society. It is a celebration of Fairey’s enduring relationship with AS220 and his unwavering belief in art as a catalyst for progress.

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Winter breeAnne We the Future Hand-Pulled on Cream Speckletone Fine Art Paper Limited Edition Artwork Obey Pop Culture Artist. 2018 Signed & Numbered Limited Edition of 450 Artwork Size 18x24 Silkscreen Print Winter BreeAnne represents a new generation of leadership and activism, embodied in the "We the Future" campaign, which is artfully captured in a limited edition silkscreen print by a renowned pop culture artist. Launched in 2018, this signed and numbered artwork is more than a visual piece; it’s a statement of empowerment and a beckoning for social participation. The artwork, pulled by hand on Cream Speckletone fine art paper, stands at an impressive 18x24 inches, making its presence as bold and thought-provoking as the message it carries. This limited edition print, with only 450 copies in existence, brings together the aesthetics of street art and the cultural influence of pop art. The artist's decision to use the hand-pulling technique, a time-honored method in screen printing, adds a layer of authenticity and craftsmanship to the work, honoring traditional practices in a modern context. The image of Winter BreeAnne is a vivid iconography, symbolizing the tireless efforts of youth activists who are not just speaking out but are leading the charge toward real change. As an element of pop and street art, this piece carries the undercurrents of rebellion and transformation. The term "Future Voter" emblazoned across BreeAnne's shirt is not merely a designation but a declaration of the coming influence of a generation ready to assert its power through civic engagement. The call to “Power to the Polls” amplifies this, pushing the narrative that every individual has a role in shaping the future. This sentiment is at the heart of pop art’s core ethos – a reflection of contemporary issues and a mirror to society’s values, hopes, and dreams. The artist behind this print is celebrated for their ability to capture the zeitgeist in their work, combining elements of propaganda, portraiture, and political messaging to create art that transcends the canvas and becomes a part of the public discourse. The use of vibrant colors, bold lines, and striking poses echoes the energy of street art murals, which often serve as beacons of community expression and are a testament to the power of public art to inspire and mobilize. The "We the Future" print is more than a decorative item; it's a cultural artifact that captures the essence of a movement, solidifying the voice of youth and the importance of participation in the democratic process. It’s an inspiration to the onlooker, serving as a reminder of the influence of the younger generation and the continuous, pulsating drumbeat of progress they bring to the political landscape.

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Idiocracy AP Artist Proof Limited Edition 4-Color Hand-Pulled Silkscreen Print on Fine Art Paper by Shepard Fairey, Graffiti Street Artist Modern Pop Art. AP Artist Proof 2016 Signed & Numbered Limited Edition of 550 Artwork Size 18x24 Silkscreen Print "I’ve always felt that art, entertainment, and humor can be the best delivery vehicles for social commentary, so I love the way humor is used in “Idiocracy” to make the social critique more digestible. The movie is a harsh but necessary indictment of the anti-intellectual culture and politics that seem to become the norm more and more everyday. The film is great in a cautionary way and has an enjoyable irony being a somewhat low-brow piece of entertainment about the perils of succumbing to a cultural rejection of anything intellectual or high-brow. In other words, the genius of the film is that it may actually get through to the audience it should reach, rather than just preaching to the intellectual elite" -Shepard Fairey- OBEY The "Idiocracy" AP (Artist Proof) silkscreen print by Shepard Fairey is a thought-provoking piece, symbolizing a potent blend of street art ingenuity with biting social commentary. Released as a limited edition in 2016, each piece in the series of 550 is hand-signed and numbered, affirming its exclusivity and value in the art community. Measuring 18x24 inches, this work is meticulously crafted through a 4-color hand-pulled silkscreen process onto fine art paper, a testament to Fairey’s dedication to quality and detail. Shepard Fairey, a trailblazer in the modern pop and street art scene, often infuses his work with social and political subtext. His "Idiocracy" print draws from the satirical film of the same name, utilizing its thematic core as a springboard for his own artistic expression. The movie's critique of a society in intellectual decline resonates with Fairey's own observations of contemporary culture, where anti-intellectualism is increasingly mainstream. Fairey's print channels the film’s irony, using the medium of pop art to comment on the potential dangers of a society that devalues knowledge and critical thinking. Fairey acknowledges the power of art, humor, and entertainment as catalysts for discussion and reflection on societal norms. By embedding these elements into his "Idiocracy" print, he not only captures the essence of the film's warning but also amplifies its message through his unique artistic lens. The print, which features the movie’s signature branding "Brawndo" and the tagline "It's got electrolytes!", satirically suggests that the brain craves not intellectual stimulation but rather a fictional beverage. This piece stands as a cultural artifact within the sphere of graffiti art, encapsulating the genre's inherent confrontation with social issues. Shepard Fairey's work is often characterized by its ability to transcend the boundaries of traditional art spaces, engaging with the public in environments that are unconventional yet visually impactful. The "Idiocracy" AP print continues this trend, marrying the rebellious spirit of street art with the evocative power of cinema to challenge viewers to consider the trajectory of cultural evolution.

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Rise Above Bird Letterpress Print by Shepard Fairey- OBEY Hand-Pulled on Cream Cotton Fine Art Paper Limited Edition Artwork Pop Culture Artist. 2021 Signed & Numbered Limited Edition of 450 Artwork Size 13x10 Letterpress Print of Bird with Flower Flying & Words Rise Above "The Rise Above Bird " is a simple twist on the white peace dove with an olive branch, but good guys don't always wear white! The "rise above" is a call to take the high road with a nod to one of my favorite Black Flag songs. Peace is radical punk!" -Shepard Fairey- OBEY. Shepard Fairey's "Rise Above Bird" letterpress print emerges as a striking piece of visual commentary in street and pop art. The artwork, a limited edition hand-pulled print on cream cotton fine art paper, showcases Fairey's adeptness at blending strong messages with iconic imagery. Limited to a series of 450, each piece is signed and numbered by the artist, reflecting its exclusivity and collectible nature. The print, measuring 13x10 inches, features a bird in mid-flight, carrying a flower—a symbol that deviates from the traditional white peace dove. The image is set against a backdrop of stylistic elements and the words "Rise Above," which serve as an encouraging motto and a tribute to the artist's favorite song by the band Black Flag. This piece symbolizes Fairey's larger body of work, which often intersects with the themes of rebellion and peace, a juxtaposition at the heart of much street pop and graffiti artwork. The term' rise above' does not merely suggest an elevation in position or status; it is an ideological summons, urging viewers to surpass the ordinary, to overcome adversity, and to reject complacency. Fairey's artistry here is not just in the piece's visual appeal but also in its capability to provoke thought and inspire action. Shepard Fairey's influence in modern street pop and graffiti artwork is undeniable. His works are infused with political and social undertones, calling for a challenge to the status quo and advocating for a radical form of peace that aligns with the punk ethos. The "Rise Above Bird" is a testament to Fairey's consistent vision, which has solidified his place as a pivotal figure in contemporary art. It stands as a bold statement in the ongoing dialogue about the power of art to enact change and the artist's role in a society that often needs to be reminded to look beyond the surface.

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Interpol NYC Calling Silkscreen Print by Shepard Fairey- OBEY Hand-Pulled on White Speckletone Fine Art Paper Limited Edition Artwork Obey Pop Culture Artist. 2019 Signed & Numbered Limited Edition of 550 Artwork Size 18x24 Silkscreen Print "Interpol is one of my favorite bands, and I’ve been lucky enough to collaborate with them throughout the years. My first introduction to them was when I stalked them backstage at Coachella and offered to create art for them if they ever needed it… to my surprise, they knew my work already and decided to take me up on my offer. My first project with Interpol was in 2004, when I created art to follow up their debut album, “Antics.” Ten years later, in 2014, I was approached with another opportunity to create a print and paint a mural for their fifth studio album, “El Pintor.” I’m excited to announce that I’ll be releasing a new print that I created in honor of their upcoming show in New York at Madison Square Garden" -Shepard Fairey- OBEY Shepard Fairey's "Interpol NYC Calling" is a silkscreen print that pays homage to the band Interpol, an act close to the artist's heart. Hand-pulled on white speckletone fine art paper, this 2019 limited edition artwork expresses the symbiotic relationship between street pop art and contemporary music culture. Limited to a series of 550 signed and numbered prints, each piece measures 18x24 inches, echoing the vibrancy of both Fairey's visual language and Interpol's sonic identity. Fairey's connection to Interpol began with a backstage meeting at Coachella, and this piece marks a continuity of collaboration that spans over a decade. His admiration for the band's work translated into the creation of art for their 2004 album "Antics" and their fifth studio album "El Pintor" in 2014. The print captures the energy and atmosphere of their anticipated show at Madison Square Garden, encapsulating the essence of the live music experience within the static medium of print. The print is an example of how street pop art and graffiti artwork intersect with other cultural phenomena, bridging the gap between visual art and music. Fairey's iconic style, characterized by bold lines, a striking color palette, and politically charged imagery, is evident in this print. The central image of the broadcasting tower, surrounded by hypnotic swirls, conveys a sense of communication and dissemination, themes that are recurrent in both Fairey's artwork and Interpol's music. This piece is not just a collectible for fans but a visual dialogue that extends Fairey's exploration of art as a tool for engagement and influence within the urban landscape.

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Long Live The People Silkscreen Print by Edward Nachtrieb x Shepard Fairey- OBEY Hand-Pulled 5-Color on Cream Speckletone Fine Art Paper Limited Edition Artwork Obey Pop Culture Artist. 2020 Signed & Numbered Limited Edition of 500 Artwork Size 18x24 Silkscreen Print "Oct 1 is the 70th anniversary of Communist Party rule in China and the Chinese government is planning an extravaganza of choreographed contentment in the mainland while the people of Hong Kong will hit the streets in an effort to secure their rights. I’ve long believed that protests in the streets are an essential tool for meaningful change because the passion, courage, and visceral force of the participants in a mass protest send a powerful message that they are fully committed to their cause! Ed Nachtrieb photographed many incredible moments of the 1989 Tiananmen Square protests. I’m honored to collaborate with Ed on a set of two images based on his documentation 30 years ago, especially because pro-democracy and human-rights protesters are in the streets of Hong Kong right now! This image “Long Live The People” will be released as a print soon… more details to come. Check out Ed Nachtrieb’s thoughts on the 1989 Tiananmen Square protests." -Shepard Fairey- OBEY "After the People’s Liberation Army was sent in to suppress what is now called the “pro-democracy movement” on June 4, 1989, there was a liberalization of economic rules and policies. China then experienced a remarkable economic transformation. The idea: if people could get rich, they wouldn’t care so much about their freedoms. I think that’s a miscalculation. In Hong Kong today, ideas championed in 1989 have reappeared in a “Revolution of Our Time” in spite of the campaign to erase such “counter-revolutionary” thoughts from history. My images used in these prints are from energetic and optimistic moments of the pro-democracy movement. Victory was in the air. Progress seemed inevitable to those with arms outstretched and smiles beaming from their faces. Shepard’s work reflects their hopes and aspirations. The same ones that fortified those protesters in 1989 are now fuel for the passionate idealists on the streets today." -Edward Nachtrieb The "Long Live The People" silkscreen print is a collaborative work between Edward Nachtrieb and Shepard Fairey, capturing the essence of protest and the enduring spirit of the people. Hand-pulled with five colors on cream speckletone fine art paper, this limited edition artwork stands as a cultural commentary and a historical reflection on the power of mass protest. The print commemorates the 70th anniversary of Communist Party rule in China, juxtaposing the government's celebration with the civil unrest and pro-democracy protests in Hong Kong. Nachtrieb's photographs from the 1989 Tiananmen Square protests provide a poignant visual foundation for the artwork. Fairey's adaptation into the print medium amplifies the message of resilience and the quest for human rights. This intersection of street pop art and graffiti artwork embodies the artists' shared belief in the impact of collective action and the pursuit of freedom, resonating with contemporary movements for democracy and social justice.

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Educate to Liberate Silkscreen Print by Shepard Fairey- OBEY Hand-Pulled 4-Color on Cream Speckletone Fine Art Paper Limited Edition Artwork Obey Pop Culture Artist. 2021 Signed & Numbered Limited Edition of 300 Artwork Size 18x24 Silkscreen Print Depicting Bobby Seale of the Black Panther Party in Stylistic 70s Retro Style. "The events this month honor the backbone leadership of the original Party. The work of BPPALN is to ensure the education initiatives and community outreach programs provide knowledge while improving the quality of life for the Elders, all the way to the youth of today." -Shepard Fairey- OBEY Shepard Fairey, a contemporary street artist widely known for his OBEY series, produced a remarkable silkscreen print titled "Educate to Liberate." This limited edition artwork, hand-pulled and comprising four colors on cream speckletone fine art paper, is significant in the street pop art and graffiti art realm. Created in 2021, the print is part of a limited edition of 300, each signed and numbered by the artist, emphasizing its exclusivity and collectible nature. Measuring 18x24 inches, the print is a striking homage to Bobby Seale, co-founder of the Black Panther Party. Seale is depicted in a stylistic retro fashion reminiscent of the 1970s when the Black Panther Party was at the forefront of civil rights activism. Fairey's artwork captures the essence of Seale's impact and serves as a visual narrative that bridges past struggles with contemporary social issues. Fairey's statement regarding this piece highlights the enduring influence of the Black Panther Party's leadership and underscores the importance of educational initiatives and community outreach. These programs are designed to empower and enhance the quality of life for people across generations, from the elders who were the movement's backbone to today's youth. By invoking the spirit of the Black Panthers' activism, Fairey's "Educate to Liberate" becomes more than art; it is a call to action, urging ongoing education and community engagement as vehicles for liberation. This print solidifies Fairey's standing as a pivotal figure in street pop art within the framework of OBEY as a topic. His works are not merely aesthetic creations but are imbued with social commentary and the power to provoke thought and inspire change. As a limited edition piece, "Educate to Liberate" is not just a collectible but also a testament to the ongoing relevance of street art as a form of social and political engagement.

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Floral Takeover 2017 Black Red Silkscreen Print by Shepard Fairey- OBEY Hand-Pulled 2-Color on Cream Speckletone Fine Art Paper Limited Edition Artwork Obey Pop Culture Artist. 2017 Signed & Numbered Limited Edition of 200 Artwork Size 18x24 Silkscreen Print "I'm always creating new patterns for my street installs and fine art pieces. I used to buy discontinued wallpaper, but now I design and print my own. These look nice as stand-alone prints, not just repeat patterns, so I'm releasing a 200-print edition of four versions. Buy a couch to match… coming soon… just kidding!" -Shepard Fairey- OBEY. The "Floral Takeover 2017 Black Red Silkscreen Print" by Shepard Fairey encapsulates the interplay of aesthetics within Street Pop Art and graffiti Artwork, signifying a profound narrative through its intricate design and bold color scheme. This piece exemplifies how traditional elements can be transformed into a new cultural vocabulary that challenges and expands the boundaries of fine art. Featuring a rich, vibrant red background overlaid with a contrasting black floral pattern, the artwork is a striking visual statement that captures the viewer's attention. Shepard Fairey, a pivotal figure in the street art movement, often incorporates motifs that reflect social and political activism. His work is known for its ability to decorate and provoke thought and conversation, a characteristic quintessential to the graffiti art movement. Silkscreen printing allows for the precision and consistency necessary for disseminating his message, harkening back to his roots in skateboarding and punk rock culture, where screen-printed designs were a means of rebellion and identity. Silkscreen printing used in this artwork is also a nod to the pop art tradition, a method popularized by artists like Andy Warhol, who sought to erase the boundaries between 'high' art and 'low' cultural imagery. Fairey's "Floral Takeover" is a contemporary continuation of this tradition, seamlessly blending street art's spontaneity and edginess with pop art's mass appeal and commercial aesthetics. The result is a striking work of art that is accessible and deeply layered in meaning. Through this print, Fairey extends the dialogue of street art into the more permanent and collectible domain of fine art prints, allowing for the transitory nature of street graffiti to be preserved and appreciated over time. The artwork becomes an important cultural artifact, representing the ever-evolving landscape of Street Pop Art and graffiti Artwork, embodying the transformative power of art in public spaces and the ongoing conversation between art and society.

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Pandemonium Silkscreen Print by TOMO77 x Shepard Fairey- OBEY Hand-Pulled on Cream Speckletone Fine Art Paper Limited Edition Artwork Obey Pop Culture Artist. 2021 Signed by TOMO77 & Shepard Fairey & Numbered Limited Edition of 300 Artwork Size 18x24 Silkscreen Print "TOMO77 has documented a period marked by isolation and confusion, from the earliest anxious days of the pandemic through more than a year of political and social unrest. Amid this graphic testimony of uncertainty, uproar, and division, TOMO77 leaves us with one question: Where do we want to go from here?" -Shepard Fairey- OBEY. The collaborative work of TOMO77 and Shepard Fairey in the "Pandemonium" silkscreen print profoundly represents the tumultuous period that marked the early 2020s. This limited edition piece, hand-pulled with four colors on cream speckletone fine art paper, stands as a cultural artifact, encapsulating the essence of street pop art and graffiti artwork. Signed by both TOMO77 and Shepard Fairey, the artwork is part of a limited run of 300, each piece numbered, indicating its value and scarcity. The artwork's dimensions, 18x24 inches, provide a substantial canvas for the intricate designs and stark contrasts that have become hallmarks of both artists. TOMO77's contribution to this piece is particularly poignant, as his work often grapples with themes of human behavior, social upheaval, and the influence of capitalism, especially within the context of an immigrant lens. The "Pandemonium" print reflects these themes, addressing the global disarray and introspection during significant societal and political unrest. Shepard Fairey's partnership with TOMO77 on this project enhances the narrative potency of the piece, as Fairey's legacy in street art and activism art adds depth to the print's conceptual framework. Through their combined efforts, "Pandemonium" becomes more than just an artwork; it is a visual question posed to the audience, challenging them to consider the direction of human progress in times of crisis. The print represents the artist's technical prowess and commitment to using art for reflection and potential change.

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Floral Takeover 2017 Red Cream Silkscreen Print by Shepard Fairey- OBEY Hand-Pulled 2-Color on Cream Speckletone Fine Art Paper Limited Edition Artwork Obey Pop Culture Artist. 2017 Signed & Numbered Limited Edition of 200 Artwork Size 18x24 Silkscreen Print "I'm always creating new patterns for my street installs and fine art pieces. I used to buy discontinued wallpaper, but now I design and print my own. These look nice as stand-alone prints, not just repeat patterns, so I'm releasing a 200-print edition of four versions. Buy a couch to match… coming soon… just kidding!" -Shepard Fairey- OBEY. The "Floral Takeover 2017 Red Cream Silkscreen Print" is a significant entry in the oeuvre of Shepard Fairey, an artist whose work is synonymous with the intersection of Street Pop Art and graffiti Artwork. This piece is part of a limited edition of 200, each signed and numbered, denoting its value as a collectible. With dimensions of 18x24 inches, the silkscreen print is substantial enough to make a statement on any wall it adorns. Fairey, with his characteristic OBEY brand, has long been a provocateur, blending commercial art techniques with street art's subversive edge, and this work is a clear example of that fusion. Fairey's approach to creating new patterns for street installations and fine art pieces harks back to his early days when he would use discontinued wallpaper as a backdrop for his work. The transition to designing and printing his patterns demonstrates a progression in his artistic control and the evolution of his signature style. The 'Floral Takeover series showcases the artist's ability to adapt elements traditionally associated with interior design and repurpose them within the context of street art and pop culture. By doing so, Fairey blurs the lines between art as a purely aesthetic commodity and its function as a commentary on societal norms. In this print, Fairey plays with a cream speckle tone fine art paper that gives the work a textured, organic feel, contrasting with the precise and deliberate two-color silkscreen technique. The choice of cream as the base color amplifies the boldness of the red floral pattern, allowing the design to leap off the paper with a vivacity that captures the viewer's eye. The juxtaposition of color and form symbolizes Fairey's work, where contrast often serves as a visual metaphor for broader cultural and political contrasts. Moreover, the 'Floral Takeover' print series reflects Fairey's humor and his recognition of the interplay between art and the commercial world, as hinted at in his playful suggestion to "buy a couch to match." This statement encapsulates the artist's awareness of the commodification of art in pop culture and his role within that process. Through works like this, Fairey continues challenging perceptions of what street art can be, bridging the gap between graffiti's rebel spirit and gallery pieces' polished finish.

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The Beauty of Liberty & Equality Austin Mural by Jon Furlong Off Set Lithograph Print Limited Edition Artwork on Fine Art Paper by Shepard Fairey X Sandra Chevrier, an urban graffiti pop street artist. 2020 Signed by Shepard Fairey & Sandra Chevrier & Numbered Limited Edition of 500 Off Set Lithograph Print Artwork Size 18x24 Beauty of Liberty Equality Austin Mural Print Shepard Fairey x Sandra Chevrier x Jon Furlong. "This historic centennial offers an unparalleled opportunity to commemorate a milestone of democracy and to explore its relevance to the issues of equal rights today. The Women's Vote Centennial Initiative, a collaboration of women-centered institutions, organizations, and scholars from across the US, works to ensure that this anniversary and the 72-year fight to achieve it are commemorated and celebrated throughout the United States." -Shepard Fairey Shepard Fairey and Sandra Chevrier's Commemorative Vision: "The Beauty of Liberty & Equality" Mural "The Beauty of Liberty & Equality" mural in Austin, captured in an offset lithograph print by Jon Furlong, represents a powerful synergy between urban graffiti, pop street art, and political activism. This limited edition artwork, created in 2020 by renowned artists Shepard Fairey and Sandra Chevrier, is part of a series signed and numbered 500. The print dimensions of 18x24 inches serve as a testament to the mural's grandeur and the message it conveys. Shepard Fairey's statement contextualizes the piece within the historical framework of the Women's Vote Centennial Initiative, linking the struggle for democratic rights to contemporary equality issues. Fairey, an artist known for his provocative and socially charged work, joins forces with Sandra Chevrier, whose art often explores the limitations imposed on women, to create a mural that celebrates progress and a call to action. The mural's vibrant imagery and compelling iconography draw on the visual language of street pop art and graffiti. At the same time, the lithograph print extends the mural's reach from the streets of Austin to the global art community. Intersecting Art and Activism in Public Spaces The intersection of art and activism is vividly presented in "The Beauty of Liberty & Equality" mural. Fairey and Chevrier harness the visual potency of street pop art to communicate and inspire dialogue around the centennial of the women's suffrage movement. Their collaboration is a visual narrative commemorating the historical fight for women's voting rights and reflecting on its significance in today's ongoing struggle for gender equality. The mural becomes more than just an art piece; it is a historical marker and a reflective mirror of society's progress and the remaining challenges. This Austin mural and its corresponding lithograph print embody the core values of street pop art and graffiti artwork by merging aesthetics with a message that resonates on a societal level. The artists utilize their platforms to amplify voices and themes that are often marginalized, demonstrating the power of public art to spark change and provoke thought. "The Beauty of Liberty & Equality" mural by Shepard Fairey and Sandra Chevrier, captured in print by Jon Furlong, is an iconic piece of street pop art that transcends its medium to become a beacon of historical awareness and social commentary. The limited edition lithograph print is a collectible item and a piece of cultural heritage that continues to disseminate the ideals of liberty and equality through the universal language of art.

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Bad Brains Punk Showcase Rasta AP Artist Proof 5-Color Hand-Pulled Limited Edition Silkscreen Print on Cream Speckle Tone Paper by Shepard Fairey Rare Street Art OBEY Pop Artwork Artist For Musicians Bad Brains. AP Artist Proof 2016 Signed & Marked AP Limited Edition Artwork Size 18x24 Shepard Fairey's "Bad Brains Punk Showcase Rasta AP" is a culturally potent piece within the street pop and graffiti art landscape. As an artist proof of the limited edition series, this 5-color hand-pulled silkscreen print on cream speckle tone paper measures 18x24 inches and was released in 2016. Signed and marked as an artist-proof (AP), it is a collector's piece that delves into the pulsating heart of punk's ethos and reggae's rasta vibrations, manifested through the lens of Fairey's distinct style. This artwork resonates with the energy of Bad Brains, a band that epitomized the hardcore punk scene with its unique blend of punk and reggae, a hybrid that paralleled Fairey's melding of art forms. The print captures the band's spirit with the commanding phrase "Positive Mental Attitude!" a mantra that Bad Brains championed throughout their career. Fairey's work is a visual echo of this ethos, presenting the band members with a backdrop of rasta colors, which not only allude to their music's roots but also serve as a nod to a broader cultural movement. Fairey, known for his influence on street pop art through works like the iconic "OBEY" campaign and the Obama "HOPE" poster, continues his exploration of music's intersection with visual art in this print. The piece is saturated with the motifs of Fairey's "OBEY Propaganda" — the star, the bold lettering, and the stylized imagery. These elements merge, not promote a band, and celebrate an entire cultural movement, reflecting the potency of street pop art in capturing and promoting subcultural movements. The "Bad Brains Punk Showcase Rasta AP" print symbolizes Fairey's engagement with the punk scene and his ability to encapsulate its raw, unfiltered voice within his work. It's a testament to the enduring dialogue between music and visual art, which Fairey has continually fostered through his prints, murals, and street art. This piece doesn't just hang on a wall; it screams with the voice of a movement, echoing from the underground clubs to the sun-soaked streets where street art and graffiti have long found their home.

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Cost of Oil AP Artist Proof Silkscreen Print by Shepard Fairey- OBEY Hand-Pulled 2-Color on Cream Speckletone Fine Art Paper Limited Edition Artwork Obey Pop Culture Artist. AP Artist Proof 2008 Signed & Marked AP Limited Edition Artwork Size 18x24 Silkscreen Print. The "Cost of Oil" silkscreen print by Shepard Fairey is a provocative piece that cuts to the heart of street pop art and graffiti artwork's capacity to confront and question socio-political issues. Released in 2008 as an artist proof (AP), this limited edition artwork is a visual exploration of the themes of energy consumption, environmental impact, and the geopolitical ramifications implicit in the pursuit of oil. Signed and marked as an AP by Fairey, the piece measures 18x24 inches and is printed on cream speckletone fine art paper. Known for his intelligent and critical approach to cultural commentary, Fairey's "Cost of Oil" embodies the essence of his street pop art practice. The artwork is anchored by the bold, declarative question, "What is the cost of oil?" which resonates against the backdrop of a commanding visual narrative. The image features a solitary figure, clad in a shirt emblazoned with "USA," filling up a Hummer's gas tank—a potent symbol of American consumption and the military-industrial complex. The radiant sunburst behind the figure and the dripping blood-red bottom underscores the dichotomy of light and darkness in the discourse around freedom and its costs. This 2-color hand-pulled print is a quintessential example of Fairey's work, aligning itself with the 'OBEY' campaign's goal to stimulate discussion and reflect on the pervasive propaganda in public spaces. The 'OBEY' motif has always sought to challenge observers to question the mechanisms and messages in their environment, and "Cost of Oil" extends this challenge to the global issue of oil dependency and its vast implications. As a piece of street pop art, the "Cost of Oil" is a catalyst for dialogue, pushing the boundaries of what art can communicate and how it can influence public thought. It's a stark reminder of the power of visual art as a means of activism and advocacy and of Fairey's enduring role in using his art to spotlight crucial issues. The print remains a relevant and stirring piece within the oeuvre of Fairey's work and the larger conversation about energy, environmentalism, and the actual price of consumption.

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Wetland Powers Silkscreen Print by Shepard Fairey- OBEY Hand-Pulled on Cream Speckletone Fine Art Paper Limited Edition Artwork Obey Pop Culture Artist. 2023 Signed & Numbered Limited Edition of 550 Artwork Size 18x24 Silkscreen Print "This Wetland Powers print examines the repercussions of a Supreme Court largely in the pockets of big oil. The government is supposed to create the greatest good for the greatest number of people. Still, the conservative justices in the current Supreme Court have put the agendas of big oil and wealthy property owners ahead of safe and clean water for the citizenry. The concept of "common assets"… no one owns resources like air and water and needs to be protected for the benefit of all, seems lost on many people in business and government. It is up to us as voters to elect representatives who put the needs of the citizens first. The Supreme Court makeup is always important to consider when voting for our president since the sitting president selects appointees for Supreme Court justices." -Shepard Fairey- OBEY Shepard Fairey's "Wetland Powers": A Statement in Street Pop Art In street pop art, Shepard Fairey stands as a figure of monumental influence; his work is often intertwined with solid socio-political messages. The "Wetland Powers" silkscreen print by Shepard Fairey, also known as OBEY, is a striking example of his commitment to merging art with activism. Released in 2023, this limited edition piece, hand-pulled on cream speckletone fine art paper, is more than a visually arresting image; it's a conduit for a critical conversation about environmental justice and governance. Dissecting "Wetland Powers" by Shepard Fairey The artwork, sized at 18x24 inches, is part of a limited edition of 550 signed and numbered prints. In typical Fairey fashion, the piece combines a bold aesthetic with a message that challenges viewers to consider the impact of political decisions on the environment. The imagery features a female figure with elements that suggest a connection to nature and its defense. Fairey's work is known for its layered visual language; every element serves a symbolic purpose, and "Wetland Powers" is no exception. Environmental Advocacy through Art In "Wetland Powers," Fairey addresses the contentious issue of land rights versus environmental protection, particularly highlighting the Supreme Court's role in shaping the fate of U.S. wetlands. The print serves as a commentary on the court's decisions that Fairey perceives as favoring corporate interests over public environmental health. Through this piece, Fairey expresses his belief in safeguarding common assets — air, water, and land — for the collective good. The Cultural Resonance of Fairey's Work Shepard Fairey's art has always resonated with a broad audience, and his Obey campaign has become a cultural phenomenon. With "Wetland Powers," Fairey continues to tap into the collective consciousness, using his art as a platform to advocate for ecological and social responsibility. The work underscores the power of street pop art to transcend the canvas and become a vehicle for change, urging citizens to reflect on their role as voters and to elect leaders who prioritize the welfare of all. "Wetland Powers" is a testament to Shepard Fairey's enduring role as an artist at the forefront of street pop and graffiti artwork. His ability to address pressing global issues through compelling imagery cements his status as an artist dedicated to the intersection of art and advocacy. As a limited edition print, "Wetland Powers" represents Fairey's artistic prowess and embodies the spirit of street art as a form of engaged public discourse.

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Tomorrow's Another Night Blue PP Printers Proof 3-Color Hand-Pulled Limited Edition Silkscreen Print on 320gsm Natural Coventry Rag Vellum Paper by Modern Artist Niagara x Shepard Fairey x Niagara. PP Printer Proof 2019 Signed & Numbered Blue Limited Edition of 150 3-Color Screen Print on 320gsm Natural Coventry Rag Vellum Size: 18 x 24 Inches Release: July 02, 2021. "I chose an image of Ron and Niagara where I think they both look amazing, but there was a nice balance between in-your-face aggression with Ron's pose making eye contact, holding his fist up, and Niagara's seemingly demure embrace of Ron, but anyone who knows Niagara understands that though she may look sedate, she's pulling the strings. I added a switchblade that she is caressing with her finger, as a way to amplify her femme fatale chic, and because I thought it lent itself to my original idea of a title 'Bonnie & Clyde Were Lightweights.'" – Shepard Fairey-.OBEY Niagara and Shepard Fairey's 'Tomorrow's Another Night': A Striking Silkscreen Collaboration 'Tomorrow's Another Night,' a captivating blue PP Printer's Proof silkscreen print, stands as a testament to the collaborative genius of Niagara and Shepard Fairey. This limited edition piece, hand-pulled on 320gsm Natural Coventry Rag Vellum paper, encapsulates the essence of modern street pop art and graffiti with its bold imagery and nuanced undertones. Each print, part of a limited edition run of 150, is signed and numbered, underscoring its exclusivity and the meticulous craftsmanship invested into every screen. Released on July 2, 2021, the artwork measures 18 x 24 inches, allowing intricate details and striking color contrasts to command attention. The print portrays two figures, Ron and Niagara, in a complex interplay of visual tension and harmony. Shepard Fairey's description of the piece reveals a deliberate balance between the overt aggression shown by Ron's direct eye contact and raised fist and Niagara's ostensibly gentle embrace. Yet, as Fairey notes, the true power lies with Niagara, whose understated demeanor masks a controlling presence, symbolized by the switchblade subtly caressed by her finger. This addition by Fairey amplifies the femme fatale motif and ties in with his original concept for the print, suggesting a narrative of concealed strength and influence. Exploring the Visual and Conceptual Depth of 'Tomorrow's Another Night' In creating 'Tomorrow's Another Night,' Fairey and Niagara delve into the dynamics of power, control, and the role of iconography in art. The piece's title and the imagery together weave a tale of anticipation and the recurring cycles of life's drama. The use of a limited color palette accentuates the graphic strength of the work. At the same time, the choice of a high-quality silkscreen process ensures that each color pops against the paper, offering a texture and depth that resonate with the layered meanings of the artwork. The collaboration between the two artists brings together distinct styles and perspectives, marrying the raw edge of street art with the finesse of fine art printmaking. Fairey's background in street pop art and activism and Niagara's punk rock aesthetic combine to create a print that is both a visual feast and a piece of social commentary. The contrast between Ron's defiant gesture and Niagara's subtle dominance challenges traditional gender narratives and invites viewers to look beyond appearances to the complex stories beneath. Cultural Significance and Artistic Legacy of the Print 'Tomorrow's Another Night' is more than just a piece of art; it is a cultural artifact that captures a moment in the evolution of street art and its intersection with pop culture. The collaboration between Niagara and Shepard Fairey represents a bridging of generational talents, fusing the spirit of punk rock with contemporary street art to create something nostalgic and fresh. The Printer's Proof status of the print adds to its cultural weight, as these proofs are typically reserved for the artist's and printer's archives, representing the gold standard of the print edition. Collectors and enthusiasts of street pop art and graffiti artwork value PP editions for their closeness to the artist's original intent and the fine quality of the print. In essence, 'Tomorrow's Another Night' is a shining example of the vibrant and transformative power of collaboration in street pop art and graffiti. It reflects the ongoing narrative of rebellion and the subversion of societal norms that street art embodies. Through this print, Fairey and Niagara offer a thought-provoking and visually impactful piece, solidifying their roles as influential figures in contemporary art.

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Let There Be Dark Red Silkscreen Print by Shepard Fairey- OBEY x Niagara Hand-Pulled 3-Color on 320gsm Natural Coventry Rag Vellum Fine Art Paper Limited Edition Artwork Obey Pop Culture Artist. 2019 Signed & Numbered Limited Edition of 150 Artwork Size 24x18 Silkscreen Print "I chose an image of Ron and Niagara where I think they both look amazing, but there was a nice balance between in-your-face aggression with Ron's pose making eye contact, holding his fist up, and Niagara's seemingly demure embrace of Ron, but anyone who knows Niagara understands that though she may look sedate, she's pulling the strings. I added a switchblade that she is caressing with her finger, as a way to amplify her femme fatale chic, and because I thought it lent itself to my original idea of a title 'Bonnie & Clyde Were Lightweights'" -Shepard Fairey- OBEY Exploring the Bold Realms of "Let There Be Dark" by Shepard Fairey: A Street Pop Art Icon Shepard Fairey's "Let There Be Dark Red Silkscreen Print" is a striking embodiment of the symbiotic relationship between street pop art and contemporary visual culture. This limited edition piece, created in collaboration with Niagara, is a visual narrative encapsulating the energy and subversive undercurrents that course through this artistic movement. As a hand-pulled 3-color print on 320gsm Natural Coventry Rag Vellum fine art paper, it stands as a testament to Fairey's mastery over the medium and his unwavering commitment to pushing the boundaries of street art into the delicate art sphere. Produced in 2019, the artwork is part of a highly exclusive series, with only 150 signed and numbered editions available. The dimensions of the artwork, 24x18 inches, are significant not only for their visual impact but also for their ability to draw the viewer into the confrontational yet poised dynamic that defines the composition. Fairey's choice of subjects, Ron and Niagara, is particularly telling; their depictions are rendered with a stark contrast of black, white, and a commanding red, highlighting their iconic stances and the charged atmosphere they embody. Fairey's narrative intention behind "Let There Be Dark" is as compelling as the visual force of the artwork. In his words, he captures the essence of Ron and Niagara's personas, juxtaposing Ron's aggressive frontality with Niagara's seemingly delicate yet cunning disposition. The addition of a switchblade subtly caressed by Niagara adds a layer of danger and a nod to the femme fatale archetype. This imagery is not merely decorative; it is a deliberate act to challenge and subvert the viewer's expectations, a hallmark of Fairey's style that has cemented his place in street pop art and graffiti artwork. The title, "Let There Be Dark," invites interpretation, playing on the biblical phrase "Let there be light," suggesting a reversal or an embrace of shadow and complexity over simplicity and illumination. This reversal is symbolic of the more significant cultural critique often found in Fairey's work, where the binaries of good and evil, light and dark, are not just questioned but also deconstructed. Beyond the visual and thematic layers, the print's collectibility is further enhanced by its fine art attributes. The use of Coventry Rag Vellum fine art paper, known for its durability and smooth texture, ensures that the colors' vibrancy and the lines' precision remain intact over time. The paper choice reflects Fairey's nuanced understanding of materials and their role in elevating street art to OK art status. Shepard Fairey's "Let There Be Dark Red Silkscreen Print" is an authentic representation of the spirit of street pop art. It bridges the gap between street art's raw expressiveness and silkscreen printing's calculated precision. With its limited edition status and the artist's signature, the print is not just a piece of art; it is a cultural artifact that captures the pulse of contemporary society and the ongoing dialogue between street art and the mainstream art world. It is a vivid example of how street pop art continues to shape and influence our visual language and cultural conversations.

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Shoplifters Welcome Silkscreen Print by Shepard Fairey- OBEY x Jamie Reid Hand-Pulled Screen Print on Cream Speckletone Art Paper Limited Edition Pop Street Art Artwork. 2012 Signed & Numbered Limited Edition of 450 Artwork Size 18x24 Created to Commemorate Reid's Ragged Kingdom Exhibition, March 16 to April 14, 2012. Shows a Hand Removing Laws From A Brief Case Infering Wall Street Money Regulations. "Jamie has been one of my biggest influences, and I'm honored that we worked on some collaborative images for the show. The new images deal with the mutual interests of Jamie and I, addressing the timeless problems of corruption and wealth inequality, but tie into the current themes of Occupy Wall Street and the dead end of fossil fuel consumption." -Shepard Faire.y Shepard Fairey's Collaboration with Jamie Reid in Street Pop Art The "Shoplifters Welcome Silkscreen Print" is a remarkable intersection of street pop art and political commentary, created by the influential Shepard Fairey in collaboration with Jamie Reid. This limited edition hand-pulled screen print on cream speckletone art paper is a testament to the potency of visual art as a tool for social critique. Released as part of Jamie Reid's Ragged Kingdom exhibition from March 16 to April 14, 2012, this artwork resonates with anti-establishment and dissent themes common in street pop art and graffiti artwork. Shepard Fairey, renowned for his OBEY campaign and the iconic Obama "Hope" poster, has a history of infusing his work with sharp political insights. The artwork in discussion depicts a hand removing laws from a briefcase, a direct inference to the deregulation of Wall Street and the unshackling of financial institutions from legal constraints. This visual metaphor conveys the message of wealth inequality and corruption, both highly relevant to the zeitgeist of the early 2010s, especially in the Occupy Wall Street movement. Artistic Expression of Sociopolitical Issues The collaborative nature of this artwork, involving both Shepard Fairey and Jamie Reid, underscores a shared commitment to addressing pressing societal issues through art. Fairey's statement about the collaboration highlights their mutual interest in tackling the "timeless problems of corruption and wealth inequality," themes that are also deeply embedded in the philosophy of street pop art. The artwork becomes a canvas for discourse, echoing the sentiments of public protests and movements that call for justice and economic reform. In creating the "Shoplifters Welcome" piece, Fairey and Reid tap into the legacy of street pop art's ability to reach a broad audience. Street pop art, often found in public spaces, speaks directly to the masses, unfiltered by the gatekeeping of traditional art venues. Though housed within the confines of an exhibition, this print carries the spirit of street art by being a piece of graffiti artwork that one can own—a symbol of both rebellion and commodification. The limited edition nature of the print, being one of only 450, adds a layer of exclusivity to a piece that speaks about wealth disparity, creating an exciting tension between the artwork's message and its status as a collectible item. Each print, signed and numbered by Fairey, is a piece of art and a statement about the artist's role in society—as an observer, a critic, and a participant in the cultural dialogue about power and money. This artwork, sized 18x24, encapsulates a period of intense socio-political activism, serving as a historical document that captures the essence of the early 2010s. The stark imagery, reminiscent of propaganda art, is both a nod to the past and a commentary on the current state of affairs. It draws a parallel between the actions on Wall Street and the broader issues of regulatory oversight and the power imbalance, which remain relevant in discussions about the economy and governance. In the larger context of street pop and graffiti artwork, Shepard Fairey and Jamie Reid's "Shoplifters Welcome" print is a powerful reminder of art's role in society. It bridges the gap between aesthetic appeal and social commentary, functioning as a visual manifesto that calls for reflection and action. The piece is not merely an artwork to be viewed but a conversation starter, a call to arms, and a historical artifact.

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The Birdsong Project Portfolio Silkscreen Print Set by Shepard Fairey OBEY x Various Artists on Fine Art Paper Limited Edition Artwork. 2023 Each Signed By Artist, Box Set Signed by Shepard Fairey & Numbered Limited Edition of 250 Artwork Size 12x12 Silkscreen Print Set For The Birdsong Project Portfolio of 20 Different Prints by Different Artists. Birdsong Project Portfolio Print Set featuring Artists: Brian Calvin, Danny Romeril, Deedee Cheriel, Duke Riley, Eggpicnic, Ernesto Yerena, Faith47, Isobel Harvey, Jim Houser, Joonbug, Kevin Earl Taylor, Keya Tama, Lovehawk, Mark Mothersbaugh, Monica Canilao, Ravi Zupa, Shepard Fairey, Sophie Wake, Tim Biskup, and TOMO77. Birds in the Realm of Street Pop Art & Graffiti Artwork Birds, as motifs, carry a universal appeal and symbolic significance that resonate across cultures, making them a prevalent subject in Street Pop Art and graffiti Artwork. They are often used to symbolize freedom, transcendence, and peace, concepts that align with the liberating nature of street art. The depiction of birds in this genre can range from realistic murals celebrating biodiversity to stylized icons serving as metaphors for social and political ideals. The flexibility of avian imagery allows street and pop artists to traverse themes from the ecological to the fantastical. In urban environments, where concrete often overshadows greenery, the portrayal of birds can be a poignant reminder of the natural world that persists amidst the cityscape. They can contrast the urban setting or as a harmonious element, embodying the tension and balance between the natural and the artificial. Symbolism and Technique in Avian Art When birds are depicted in street and pop art, their representation can carry multiple layers of meaning. For example, an image of a dove may be a straightforward symbol of peace or recontextualized to comment on war and urban strife issues. The artistic techniques employed to depict birds can also vary widely, from elaborate, photorealistic renderings that celebrate the beauty of these creatures to abstract, geometric interpretations that distill their forms into essential shapes and colors. The diversity of bird species also offers a rich palette for artists to draw from, with the colors and patterns of different birds providing endless inspiration for visual experimentation. In Street Pop Art and graffiti Artwork, the representation of birds can be both a celebration of nature's diversity and an artistic challenge, pushing artists to capture the essence of these creatures in innovative ways. The Cultural Impact of Avian-Themed Art Artwork featuring birds has the potential to make a significant cultural impact, particularly in the context of environmental awareness and conservation efforts. Street Pop Art and graffiti Artwork that showcases birds can bring attention to the plight of endangered species or the importance of urban green spaces. Additionally, such artwork can contribute to urban dwellers' aesthetic and psychological well-being, offering moments of beauty and reflection amid the urban hustle. The universal recognition of bird imagery also means that avian-themed art has a broad appeal and can transcend language and cultural barriers. This makes birds an ideal subject for public art intended to engage diverse audiences and foster a sense of community and shared appreciation for nature. Birds are a dynamic and multifaceted subject within Street Pop Art and graffiti Artwork, serving as symbols of freedom, agents of beauty, and reminders of the natural world. Their representation in art can range from literal to symbolic, realistic to abstract, each interpretation offering a different facet of meaning and aesthetic value. The works depicted in the image you've provided likely encompass a broad spectrum of these artistic approaches, reflecting the rich potential of avian imagery to inspire and provoke thought across the vibrant canvas of street and pop art.

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The Beauty of Liberty & Equality PP Printers Proof Austin Mural by Jon Furlong Off Set Lithograph Print Limited Edition Artwork on Fine Art Paper by Shepard Fairey X Sandra Chevrier, an urban graffiti pop street artist. PP Printers Proof 2020 Signed by Shepard Fairey & Sandra Chevrier & Marked AP Off Set Lithograph Print Artwork Size 18x24 Beauty of Liberty Equality PP Austin Mural Print by Shepard Fairey x Sandra Chevrier x Jon Furlong. "This historic centennial offers an unparalleled opportunity to commemorate a milestone of democracy and to explore its relevance to the issues of equal rights today. The Women's Vote Centennial Initiative, a collaboration of women-centered institutions, organizations, and scholars from across the US, works to ensure that this anniversary and the 72-year fight to achieve it are commemorated and celebrated throughout the United States." -Shepard Fairey Shepard Fairey and Sandra Chevrier's "The Beauty of Liberty & Equality": A Mural of Democratic Milestones "The Beauty of Liberty & Equality" PP (Printer's Proof) is an evocative offset lithograph print by Jon Furlong that captures the essence of a mural by Shepard Fairey and Sandra Chevrier, two luminaries in the world of urban graffiti pop street art. This print, part of a limited edition run of 500 signed and numbered pieces released in 2020, measures 18x24 inches and stands as a testament to a significant moment in the history of democracy—the Women's Vote Centennial. Shepard Fairey's statement underscores the artwork's connection to the broader initiative commemorating women's suffrage and its ongoing relevance to current equal rights issues. Fairey, an artist renowned for his politically charged work, and Chevrier, known for her striking visual narratives that often delve into gender politics, have collaborated to create a mural that is both a celebration of historical achievements and reminds of the struggles that persist. As a Printer's Proof, the lithograph print holds a special status, often reserved for checking the final quality before printing the entire run. Collectors and enthusiasts of street pop and graffiti artwork prize such proofs for their closeness to the artists' original intent and the rarity they represent within a print series. Artistic Fusion in "The Beauty of Liberty & Equality" The mural, and by extension the lithograph print, is a vibrant fusion of Fairey's bold, graphic style and Chevrier's poignant portraiture, enveloped in a palette that commands attention and provokes thought. The artwork's layered composition—a hallmark of Fairey's and Chevrier's approach—blends text, imagery, and symbolism to convey a complex narrative about the journey toward equality and liberty. In line with the ethos of street pop art, the piece is anchored in its accessibility and capacity to communicate powerful messages through the visual lexicon of graffiti art. In bringing this piece to life, Fairey and Chevrier have created an artwork that celebrates a centennial and crafted a message that resonates with the present-day discourse on rights and representation. "The Beauty of Liberty & Equality" is a visual dialogue about the ongoing journey of democracy and the role of art in reflecting and shaping public consciousness. "The Beauty of Liberty & Equality" PP Austin Mural Print by Jon Furlong, Shepard Fairey, and Sandra Chevrier is a significant addition to the narrative of pop street art and its intersection with social activism. This Printer's Proof is a collectible piece that not only enhances the aesthetic milieu of its holders but also serves as a poignant reminder of the power of art to commemorate, educate, and inspire continual progress toward equality. Through this lithograph, the mural's message transcends the boundaries of Austin, reaching an international audience and solidifying its place in the annals of street pop art and graffiti artwork.

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Bob Mould AP Signed Silkscreen Print by Shepard Fairey- OBEY Hand-Pulled on Cream Speckletone Fine Art Paper Limited Edition Artwork Obey Pop Culture Artist. AP Artist Proof 2008 Signed Autograph by Bob Mould Across The Face in Marker & Shepard Fairey- OBEY Numbered Limited Edition of 500 Artwork Size 18x24 Silkscreen Print Depicting Bob Mould of the Music Bands Hüsker Dü, Sugar & The Jacks. District Line. "Bob Mould was the guitar player and co-songwriter of Husker Du, one of the most progressive hardcore/indy bands of the '80s. Originally one of the most successful bands on SST records, they were among the first American indie bands to sign to a major label. They are credited with paving the way for bands like Sonic Youth, The Pixies, and Nirvana. I borrowed Husker Du's Zen Arcade album from a friend in my 10th-grade year and quickly collected the rest of their catalog. I especially recommend their album Flip Your Wig. After Husker Du broke up, Bob formed Sugar and now performs solo. His new album District Line is awesome." -Shepard Fairey- OBEY Shepard Fairey's Tribute to Bob Mould: Merging Music and Street Art The Bob Mould AP Signed Silkscreen Print by Shepard Fairey, a figure synonymous with OBEY and a towering presence in street pop art, is a limited edition artwork that pays homage to Bob Mould's profound influence on the music scene. As an Artist Proof from 2008, this piece holds a special place within the edition of 500, featuring Fairey's signature 5-color technique on cream speckletone fine art paper, measuring 18x24 inches. Mould's autograph across the face in marker adds a personal touch, intertwining the visual narrative with the tactile memory of the musician's hand. This print captures the likeness of Mould, known for his groundbreaking work with bands Hüsker Dü, Sugar, and The Jacks, and the essence of his impact on the hardcore/indie genres. Fairey's acknowledgment of Mould's legacy, from the seminal album "Zen Arcade" to "Flip Your Wig" and beyond, underscores the print's importance as a piece of cultural history. Fairey, who has a storied history of integrating his art with social commentary and the music industry, uses this print to honor a musician who has been pivotal in shaping the landscape of modern American indie music. Bob Mould and the Evolution of American Indie Music in Visual Art Bob Mould's journey through the evolution of American indie music is intricately woven into the fabric of this silkscreen print. Shepard Fairey's artistic rendering goes beyond mere portraiture; it is a symbolic representation of the era that saw bands like Sonic Youth, The Pixies, and Nirvana reshape the musical landscape, with Mould and Hüsker Dü leading the charge. As a fan who found inspiration in his youth's raw and passionate soundtracks, Fairey's connection to Mold's music informs the artwork's intimate and reverent portrayal. The print is a visual testament to Mould's ongoing relevance, with Fairey highlighting the musician's solo works like "District Line." The piece symbolizes the confluence between street pop art and the visceral energy of the music that often serves as its soundtrack. Fairey's ability to infuse his work with the spirit of the music he admires adds depth to the print, elevating it from a mere collectible to a significant narrative artifact within the canon of street pop art and graffiti artwork. Shepard Fairey's Bob Mould AP Signed Silkscreen Print is not just a confluence of visual art and music but a celebration of the enduring legacy of an artist who has helped shape the sound of a generation. As a street pop art piece, it embodies the rebellious heart of the indie movement. It stands as a testament to the power of art to transcend mediums and become a unifying force for cultural reflection and appreciation. The limited edition nature of the print, coupled with the personal signatures of both Mould and Fairey, cements its status as a collectible piece that captures a pivotal moment in the interplay between music and visual art.

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The Beautiful Losers Portfolio & Catalog Boxed Edition 2004-2010 Museum Crate Set Kaws- Brian Donnelly x Shepard Fairey- OBEY x Jonathan Levine Projects Featuring Legendary Graffiti Street Artwroks from Dozens of Artists During the 2004, 2005, 2006, 2007, 2008, 2009 & 2010 Show Run. The Beautiful Losers Portfolio and Catalog Boxed Edition, 2006 is a treasure trove for lovers of Street Pop Art and Graffiti Artwork, offering a comprehensive collection that captures the spirit of the iconic "Beautiful Losers" exhibition. This limited-edition set stands as a pristine testament to a defining moment in contemporary art and the raw creativity of the street art scene from 2004 to 2010. Each element of the set, carrying corresponding matching edition numbers, is in mint condition, ensuring its value as a collectible and a piece of art history. Original The Beautiful Losers Portfolio & Catalog Boxed Edition 2004-2010 Museum Crate Set x Jonathan Levine. Jonathan Levine Projects' The Beautiful Losers box sets 2004-2010 were released in a limited edition, with the Portfolio Box limited to under 30 editions and the Catalog Box limited to 100. Each set is housed in a custom printed and numbered wooden box, adding a layer of sophistication and care to the presentation of these artworks. The dimensions of these boxes, measuring 26 x 19 x 9 inches, were carefully chosen to accommodate the variety of works and their varying sizes, ensuring that the integrity of each piece is maintained. Iconoclast published these box sets on the occasion of the traveling exhibition "Beautiful Losers," which ran from 2004 to 2010. This exhibition, alongside "Transfer," which toured various locations from 2008 to 2010, showcased the burgeoning talent and diverse expressions within Street Pop Art and Graffiti Artwork. The Beautiful Losers exhibition and its accompanying publications, including the "Beautiful Losers: Contemporary Art And Street Culture" book published by Edition Iconoclast in 2005, have been pivotal in bringing the vibrancy and relevance of street and graffiti art to a broader audience. The Portfolio Box, a crucial component of these sets, is a treasure trove of 28 of the most influential street and graffiti artists. This collection includes prints from renowned artists like KAWS and Shepard Fairey, each bringing their unique vision and style to the forefront. Each piece within this box echoes the themes and artistic expressions in the broader Beautiful Losers exhibition, further underscoring this collection's significance in contemporary art. The Beautiful Losers Movie 2008 About the Art Show Beautiful Losers is a 2008 documentary that dives into the lives and art of a collective of artists who have played a pivotal role in the Street Pop Art and Graffiti Artwork movement since the 1990s. Directed by Aaron Rose and co-directed by Joshua Leonard, this film was a product of Sidetrack Films and BlackLake Productions, featuring artists like Harmony Korine and Steve "ESPO" Powers. The film explores the "do-it-yourself" ethos of these artists, whose work is steeped in the aesthetics of skateboarding, graffiti, and underground music genres such as punk rock and hip-hop. It casts a light on the journey of these artists from obscure street culture to becoming celebrated figures within the mainstream art world, detailing their personal feelings and convictions as they transitioned from creating for themselves to working on high-profile commercial projects. "Beautiful Losers" is more than a film; it is part of a more significant cultural phenomenon that includes a published art book of the same name, edited by Christian Strike and Aaron Rose, and a traveling museum exhibition that features the artists and their works. This exhibition serves both as a backdrop and a focus in the documentary, emphasizing the expansive influence of these artists and their continued relevance in contemporary art discourse. Artist Signed Limited Edition Silkscreens, Photos, Drawings & Art Objects 2004-20010   Beautiful Losers Contemporary Art and Street Culture Book 2004 Beautiful Losers: Contemporary Art and Street Culture, a seminal anthology published in 2004 by D.A.P./Iconoclast, this volume is an essential exploration of a vibrant subculture that transformed the aesthetics of the late 20th and early 21st centuries. This first edition is a collector's gem encased in a satisfactory condition hardback with a sleeve. The book's red cloth boards are embossed with gilt lettering on the front and spine, signaling the treasure within a profusion of illustrations and original works. This is no mere collection; it is a profound narrative detailing a cultural movement's organic, uncontrived emergence. It charts the journey of American artists, many freshly stepping into adulthood, who were propelled not by market demands but by pure passion and creativity. Without formal training or insider knowledge, they drew inspiration from the streets, influenced by the raw vitality of skateboarding, graffiti, street fashion, and independent music. Names like Shepard Fairey, Mark Gonzales, and Spike Jonze are among the many who channeled their lived experiences into their craft, learning through doing and revolutionizing their mediums. Beautiful Losers serves as both a tribute and a historical account, tracing the cultural threads from Jean-Michel Basquiat and Keith Haring to newer proponents such as Ryan McGinniss and KAWS. It features various artistic expressions across mediums, alongside reproductions of ephemera that encapsulate the era's spirit. The book is further enriched by essays from writers who have fervently supported these artists from their inception. It's not just an art book; it's an archive of a movement that left indelible marks on the art world and fashion, music, literature, film, and even athletics. The independent ethos these creators embodied may have evolved, yet their foundational spirit—a spirit of rebellion, innovation, and authenticity—remains unshaken. Beautiful Losers is a celebration of that enduring spirit, an invitation to witness the beauty in the raw, the unrefined, and the real. Kaws- Brian Donnelly: Warm Regards Letterpress Print 2005 Signed/Numbered 2005 Signed & Numbered Limited Edition of 200 Artwork Size 16x20. "Warm Regards," created in 2005 by KAWS, is a captivating piece of art rendered through letterpress on paper, measuring 20 x 16 inches. This artwork is part of a limited edition of 200, each meticulously signed and numbered by the artist. The piece was published explicitly by Iconoclast Editions to commemorate the "Beautiful Losers: Contemporary Art and Street Culture" exhibition, which ran from 2004 to 2009, marking a significant moment in the intersection of contemporary art and street culture. This artwork features a character that is a signature motif in KAWS' work, with its notable crossed-out eyes and exaggerated cartoon-like hands and feet. This print is from a limited edition series, with only 200 pieces available, each individually signed and numbered by the artist. It was published by Iconoclast Editions, likely as a celebration of the "Beautiful Losers: Contemporary Art and Street Culture" exhibition. The exhibition, which took place from 2004 to 2009, was a pivotal event showcasing the overlap of contemporary art with street culture. KAWS' work often bridges these two worlds, combining a commercial graphic design background with a sophisticated, gallery-worthy aesthetic. His characters are usually drawn from pop culture and are depicted in a playful and critical style, often reflecting consumerism and human emotion. Shepard Fairey- OBEY: Soup Can I Silkscreen Print 2005 Signed/Numbered 2005 Signed & Numbered Limited Edition of 200 Artwork Size 16x20. Shepard Fairey's "Soup Can 1" is an iconic piece from 2005, masterfully rendered as a silkscreen print on acid-free archival paper. The artwork is 20 by 16 inches and belongs to a limited edition series, with only 200 existing pieces, each bearing the artist's signature and edition number. Iconoclast Editions released this print to commemorate the pivotal "Beautiful Losers: Contemporary Art and Street Culture" exhibition from 2004 to 2009 and celebrate the synergistic relationship between underground art scenes and mainstream culture. The "Soup Can 1" print has graced a variety of prestigious exhibits, including the seminal "Beautiful Losers" traveling exhibition, "Transfer" at Santander Cultural in Porto Alegre, Brazil, and the comprehensive "Supply & Demand" show. It also appeared at the "Transfer" exhibition housed within the Brazilian Cultural Pavilion at Ibirapuera Park, São Paulo, Brazil, in 2010. Fairey's work during this period is documented in an array of publications, notably the "Beautiful Losers" collection from 2005-2009, the "Supply & Demand" book published by Rizzoli in 2009, and the 2010 edition of "Transfer." Each of these works provides insights into the artist's creative process and the cultural impact of his work. The provenance of "Soup Can 1" is securely rooted in the Beautiful Losers Archive, ensuring its place in the annals of contemporary street culture and affirming its status as a collectible piece of art history. Shepard Fairey- OBEY: Untitled Angela Davis Silkscreen Print 2005 Signed/Numbered This powerful silkscreen by the influential artist Shepard Fairey is a striking addition to his illustrious work. Sized at a prominent 8x10, this untitled piece is part of an exclusive edition of only 100 copies, each printed, numbered, and signed by Fairey himself, ensuring its rarity and collectibility. Fairey, renowned for his ability to infuse art with social commentary, presents a compelling portrait set against a bold red backdrop that demands attention. The high-contrast silhouette captures the strength and intensity of its subject, immortalizing a moment of passionate expression. The image is a visual echo of the past yet speaks to contemporary themes of empowerment and resistance. In the lower-left corner, Fairey's signature emblem—the star circled by the word "OBEY"—anchors the work, embedding the piece within his more extensive oeuvre known for challenging viewers to question authority and the landscape of visual culture. This artwork is a testament to Fairey's continued relevance in the art world and his steadfast commitment to making a statement through his art. Collectors and admirers of Fairey's work will recognize the artist's iconic style, which has become synonymous with the modern street art movement. Henry Chalfant: Lee, Futura, Dondi Silkscreen Print 2004 Signed/Numbered This compelling artwork, crafted by the esteemed Henry Chalfant, celebrates the street art movement, immortalizing the work of three graffiti legends: Lee, Futura, and Dondi. Titled "Lee Futura Dondi," this piece from 2004 is a silkscreen printed on acid-free archival paper, ensuring its preservation and quality for years. Measuring 16 x 20 inches, the work is substantial enough to make an impactful visual statement while still suitable for diverse display settings. The triptych format of the artwork presents a trio of vibrant, stylized subway cars, each adorned with the distinctive artwork of the graffiti above artists. The top panel bursts with energetic pinks and blues, showcasing Lee's iconic lettering style, while the middle features Futura's futuristic approach, with abstract forms and a cool-toned palette. The final panel is a tribute to Dondi's classic wildstyle, with bold lettering in shades of pink cutting through the background. Chalfant's work is not merely a static representation; it conveys the movement and rhythm of subway art as it once moved through the arteries of New York City. Each piece in this limited edition series is signed and numbered by Chalfant, marking its authenticity and connection to the artist. This series was published to coincide with the groundbreaking exhibit "Beautiful Losers: Contemporary Art and Street Culture," which showcased the intersections and influences of street art within contemporary art. This print is a collector's item, not only for its aesthetic and historical value but also for its representation of the evolution of street art from subways and city walls into the echelons of high art. Geoff McFetridge: Kemistry Original Drawing with DVD Animation 2004 This piece, created by Geoff McFetridge, is one of the 100 original drawings that compose an intricate animation sequence. Crafted with precision in pencil on Canson paper, each drawing measures 22.86 by 30.45 centimeters, capturing the minimalist aesthetic and fluid lines characteristic of McFetridge's work. This artwork showcases a playful scene of a figure skateboarding, rendered in a flowing, continuous line that conveys motion and a subtle sense of whimsy. A second character peeks curiously from the edge, adding a narrative element to the composition. Accompanying the original artwork, collectors receive a DVD containing the complete animation sequence, providing a rare glimpse into McFetridge's creative process and the animation's progression from still images to a dynamic visual experience. The artist signs Each drawing, providing a personal touch that assures authenticity. This offering is not merely an acquisition of a singular piece of art; it is an invitation to engage with McFetridge's visionary world where graphic design intersects with cinematic storytelling. This unique combination of traditional drawing and digital animation offers a multifaceted appreciation for the artist's innovative approach to contemporary art. Ed Templeton: Chris Johanson At The First Beautiful Losers Exhibition Photograph 2004 Signed Captured through the discerning lens of Ed Templeton, this photograph is a significant piece of contemporary art history, documenting the vibrant essence of the "Beautiful Losers" art movement. The image presents Chris Johanson, an artist synonymous with the DIY spirit of street art, at the first exhibition of "Beautiful Losers" in Cincinnati, Ohio, in 2004. This is an evocative silver gelatin print by Ed Templeton, depicting Chris Johanson at the inaugural "Beautiful Losers" exhibition. The photograph, sized at 8 x 10 inches, is part of a limited edition of 100, each individually signed by Templeton, marking its exclusivity and authenticity. Captured in 2004, this image is a timeless piece of art history, documenting a pivotal moment in the convergence of street culture and contemporary art. This photograph is a visual record and embodiment of the exhibition's ethos, celebrating the underground convergence of skateboarding, graffiti, and street art with contemporary art. The photo's composition is candid and unfiltered, showcasing Johanson with his face obscured by a white cloth, an enigmatic presence that stirs curiosity. This choice of presentation speaks to the themes of anonymity and mystery that often permeate street art culture. Johanson's obscured face, adorned with sunglasses atop the fabric and his untamed beard protruding beneath, creates a striking, visually arresting, and thought-provoking contrast. Signed by Ed Templeton, this photograph is a tactile connection to the moment it captures, bringing the viewer into the fold of a pivotal event in street and pop art history. Templeton's signature adds a layer of authenticity and marks this work as a genuine intersection of his photographic journey and Johanson's artistic narrative. "Chris Johanson At The First Beautiful Losers Exhibition" is a photograph transcending its medium, offering a glimpse into the community and camaraderie of the artists who defined a generation. This piece will hold a place of reverence for collectors and enthusiasts of the movement, encapsulating the raw, spontaneous energy that "Beautiful Losers" represented. Cynthia Connolly: Untitled Ice Machine Page, Arizona Photograph 1999 Signed/Dated This photograph by Cynthia Connolly, untitled yet poignantly capturing the essence of Page, Arizona, is a masterful silver gelatin print that embodies the spirit of the "Beautiful Losers" exhibition. The print, with dimensions of 4 x 6 inches, belongs to a limited edition series of 100, each painstakingly printed and signed by the artist, underscoring its collectible nature. The image focuses on an ice machine, a mundane yet iconic symbol of Americana in the everyday landscape. Dated 5/17/95, the photograph is not just a depiction of a place but a timestamp of an era. The handwritten annotation "Page, Arizona" adds a personal touch, evoking a sense of place and grounding the artwork in its geographical context. Connolly's photographic eye transforms the ordinary into the extraordinary, inviting viewers to find beauty and narrative in the commonplace. The stark contrast of the black and white image highlights the play of light and shadow, lending the ice machine a sculptural quality. This piece is a subtle exploration of form and texture, where even the utilitarian becomes a subject worthy of artistic contemplation. This print is essential for collectors who value the intersection of documentary photography and fine art. It is a testament to Connolly's commitment to capturing the overlooked nooks of American landscapes, making it an exceptional addition to any collection that celebrates the nuanced beauty of the mundane within the vast tapestry of American culture. Barry Mcgee: Untitled Ryze 2007 C-Print & Hand-Tagged Photograph Artwork Barry McGee's "Untitled Ryze" is a cornerstone of the contemporary art movement, symbolizing the vibrant intersection of street culture and fine art. This striking 2007 C-print, measuring 16 x 20 inches, is a highly coveted collectible, limited to an edition of 200. Each piece in the series bears the unique distinction of being hand-signed and numbered by McGee, an artist who rarely affixes his signature to his works. The artwork was released in conjunction with the seminal exhibition "Beautiful Losers: Contemporary Art and Street Culture," which spanned from 2004 to 2009 and a plethora of museums and galleries across the globe. The image captures the essence of Boston's legendary" street figure, Ryze, showcasing McGee's adeptness at translating the raw energy of graffiti into a refined gallery context. McGee's word extends beyond the photograph, as "Untitled Ryze" is pivotal in his larger installations and clustered assemblage pieces. The picture is a visual testament to the artist's legacy and a touchstone for the cultural zeitgeist The Beautiful Losers encapsulated. Acquired directly from Iconoclast Editions and the Beautiful Losers Archive, this piece represents a rare opportunity for fans and collectors alike to own a fragment of street art history seen through the lens of one of its most enigmatic and celebrated artist, Barry McGee. Barry McGee: Untitled Hello My Name Is Original Slap-Up Sticker 2005 Signed Tag Barry McGee, an influential figure in street pop art and graffiti artwork, has made a significant impact with his unique style and approach. His "Untitled Hello My Name Is Original Slap-Up Sticker 2005 Signed Tag" is a quintessential example of his work, blending the raw, energetic ethos of street art with the refined aesthetics of pop art. This piece, created in 2005, is a testament to McGee's ability to transform everyday objects and themes into compelling artistic expressions. McGee's journey in art began in the streets, where he honed his craft by creating graffiti under the tag "Twist." This formative period was crucial in shaping his distinctive style, characterized by a blend of graffiti's spontaneity and the bold, eye-catching essence of pop art. His transition from street walls to galleries did not diminish the raw authenticity of his work. Instead, it provided a new canvas for his expressions, allowing him to reach a wider audience while staying true to his roots in street culture. Terry Richardson: Untitled Devil Self Portrait Silkscreen Print 2004 Signed/Numbered Presenting a striking visual piece, this untitled self-portrait from 2004 is a silkscreen print on paper, measuring 20 x 16 inches, and part of a limited edition of 200. Each piece is individually signed and numbered by the artist, adding a personal touch to this exclusive artwork. The print features the artist in a vibrant yellow backdrop, posing with a playful yet rebellious demeanor. Adorning devil horns and wielding a trident, the subject playfully gestures a peace sign, juxtaposing traditionally nefarious symbols with a light-hearted attitude. The vivid monochromatic yellow tone of the print adds to the artwork's striking impact. This piece was released with the exhibition "Beautiful Losers: Contemporary Art and Street Culture" from 2004-2009. It explores the intersections of pop culture and street art, offering a subversive take on contemporary iconography. The artwork's provenance is notable, originating from Iconoclast Editions and the Beautiful Losers Archive, ensuring its authenticity and connection to a significant movement in modern art. This self-portrait is more than a mere image; it's a statement piece that captures the essence of a cultural zeitgeist, making it a compelling addition to any art collection. Evan Hecox: Kyoto Street Woodblock Print 2004 Signed/Numbered "Kyoto Street," a captivating silkscreen by Evan Hecox, presents a moment frozen in the timeless allure of Japan's old capital. Created in 2004, this piece of art is meticulously printed on acid-free archival paper, measuring 20 x 16 inches. It belongs to an exclusive edition limited to 200 prints, each hand-signed and numbered by Hecox himself, ensuring its place as a collectible item. This artwork was released as part of the influential "Beautiful Losers: Contemporary Art and Street Culture" exhibit from 2004 to 2009 and was showcased at various locations. The "Kyoto Street" print has been displayed in notable exhibitions, including "Transfer" at the Santander Cultural in Porto Alegre, Brazil, in 2008 and the Brazilian Cultural Pavilion in Ibirapuera Park, São Paulo, in 2010. In this piece, Hecox distills the essence of Kyoto's urban landscape into stark contrasts and clean lines, capturing the dynamic interplay of light and shadow. Lanterns adorned with kanji characters punctuate the scene, casting a warm glow over the alleyway. At the same time, the intricate web of power lines above adds a layer of complexity, suggesting the city's vibrant energy. The artwork's stark palette and bold graphic style evoke a sense of nostalgia, inviting viewers to contemplate the serene and bustling atmosphere of Kyoto streets. Preserved within the Beautiful Losers Archive, "Kyoto Street" is not just a print but a narrative piece chronicled alongside other contemporary masterpieces in the "Beautiful Losers" and "Transfer" catalogs. It is a testament to Hecox's ability to capture the urban environment's soul, making it a prized possession for collectors and admirers of contemporary art with a penchant for urban aesthetic and cultural depth. Ryan McGinness: Pathetic Lucky Charms of the Hipster Doofus Silkscreen Print 2004 Signed/Numbered Ryan McGinness, 'Pathetic Lucky Charms of the Hipster Doofus.' This exquisite piece from 2004 is a masterful representation of contemporary iconography, meticulously crafted through silkscreen on paper. Each print measures 20 by 16 inches and is part of an exclusive edition limited to 200 pieces, ensuring its uniqueness and collectible nature. Each print is hand-signed and numbered by the artist, a testament to its authenticity and McGinness's personal touch. The artwork was released in conjunction with the renowned exhibition 'Beautiful Losers: Contemporary Art and Street Culture,' which spotlighted the pulsating energy and vibrancy of street art within the context of contemporary art. The piece is a symphony of symbols, a visual lexicon reflecting the hipster subculture's ironic and often self-deprecating spirit. McGinness's use of iconic imagery, interwoven with playfulness and critique, encapsulates a moment where art, culture, and social commentary intersect with effortless grace. This work is not just a piece of art but a slice of cultural history, a mirror to the zeitgeist of the early 2000s urban landscape." Harmony Korine: Untitled Osama & E.T. Silkscreen Print 2005 Signed/Numbered This artwork is an enthralling silkscreen print by Harmony Korine titled "Untitled (Osama & E.T.)" from 2005. It is a limited edition work, with only 200 copies made, each hand-signed and numbered by Korine, elevating its status as a collector's item. This print, measuring 20 x 16 inches, showcases Korine's unique vision by juxtaposing two vastly different cultural references into one frame. The image represents Osama bin Laden in a warm embrace with the iconic extraterrestrial character, E.T., from Steven Spielberg's renowned film. Blending these images makes a bold statement and invites many interpretations of the convergence of disparate cultural symbols. The figure and E.T. are drawn with a delicate linearity that belies the weightiness of the subject matter, creating a striking visual paradox. This silkscreen print was released with the "Beautiful Losers" exhibition, which celebrated the intersection of skateboarding, graffiti, and street fashion with contemporary art. The provenance of the print is impeccable, coming from Iconoclast Editions and the Beautiful Losers Archive, adding to its historical and artistic significance. The pairing of such incongruous figures in this print challenges the viewer to reconcile the contrasting emotions and narratives each character represents. This piece is more than just a visual statement; it's a dialogue about pop culture, political figures, fictional characters, and their place within the artistic sphere. Collectors and enthusiasts of street pop art will appreciate this print's depth and provocative nature, making it a noteworthy addition to any compilation of contemporary artwork. Larry Clark: Untitled Shorty Photograph Artwork 1996/2007 Signed/Numbered This striking photograph titled "Untitled (Shorty)" is a profound work by the acclaimed artist Larry Clark. It was produced in 1996 and later published in 2007. It is presented on Anjelica watercolor paper with 20 x 13.75 inches dimensions. Each piece within this edition of 200 is individually signed and numbered by Clark himself, with an additional signature and date on the verso, ensuring its authenticity and rarity. Issued with the renowned "Beautiful Losers: Contemporary Art and Street Culture" exhibition from 2004 to 2009, this photograph emanates from the Iconoclast Editions and is an integral part of the Beautiful Losers Archive. Larry Clark, an influential figure in photography and film for over five decades, has left an indelible mark on the creative world through works like "Teenage Lust" and "Tulsa" and movies including "KIDS" and "Marfa Girl." The photograph captures the essence of Lyle Dean "Shorty" Easky, whose story intertwines with the artist's history and the broader narrative of American youth culture. Shorty, of Native American descent, tragically passed away in 2013. His life and untimely death remain a poignant tale, with roots stretching back to the same Tulsa neighborhood that inspired much of Clark's early work — the same locale that Francis Ford Coppola chose for "The Outsiders." Raymond Pettibon: Untitled Sun Silkscreen Print 2005 Signed/Numbered This striking work is an untitled piece from 2005 by the acclaimed artist Raymond Pettibon, known for his influential contributions to art and culture. The piece is a silkscreen on paper, a medium that allows for the vibrant and crisp presentation of Pettibon's dynamic design. It measures 20 x 16 inches, is scale accessible for various spaces, and commands enough to make a visual impact. Pettibon's creation is part of an exclusive edition of 200, with each piece signed and numbered by the artist, providing a direct connection to his creative process. The artwork features a burst of lines emanating from a central point, suggesting an explosive energy or a cosmic phenomenon. The use of black, coupled with highlights of blue and yellow, imbues the piece with a sense of depth and intensity, while the handwritten text at the top—"APPLY IT TO THE STUDY OF MIRRORS, RAINBOWS OR THE SUN!"—invites contemplation and lends a poetic dimension to the visual experience. This edition was published to commemorate the exhibit "Beautiful Losers: Contemporary Art and Street Culture," which celebrated the intersection of underground art and urban creativity. Pettibon's work is a testament to the ethos of this movement, encapsulating the raw spirit and the bold aesthetics that define the genre. It is a collector's item not only for its aesthetic appeal but also for its cultural significance within contemporary art. Evan Hecox: Chinatown NYC Woodblock Print 2004 Signed/Numbered Evan Hecox's 'Chinatown NYC,' a 2004 woodblock print on delicate Japanese rice paper, articulates urban vibrancy meticulously. Each print within this limited series measures 10 x 8 inches and is part of a numbered edition restricted to 100, underscoring its exclusivity. Each piece is printed and personally signed by Hecox, lending a touch of the artist's direct involvement in the collector's experience. This work captures the essence of New York's bustling Chinatown with a keen eye for detail and a distinctive stylistic approach. Hecox's use of lines in the woodblock medium translates the dynamic nature of the city into a static image that pulses with life. The artist masterfully conveys the architectural complexity of the urban landscape, complemented by the human element that breathes life into the city. The nuanced layering of the print, with its intricate linework and subtle tonal variations, echoes the layered experiences of urban life. Renowned for his ability to distill the spirit of a locale into his artwork, Hecox presents 'Chinatown NYC' as more than just a visual representation; it's a narrative woven in ink and paper, a story told through the rhythm of a cityscape. This piece reflects Hecox's artistic prowess and is a homage to the cultural tapestry that defines Chinatown and the ever-evolving story of New York City itself. Rostarr- Romon K Yang: Untitled Japan HPM Spray Paint Silkscreen 2005 Signed/Numbered Experience the fusion of tradition and rebellion with Rostarr's 'Untitled Japan HPM,' a provocative piece by Romon K Yang from 2005. This striking work, rendered on paper with dimensions of 27.94 x 33.02 cm, is a harmonious blend of spray paint and silkscreen techniques, culminating in a limited edition of just 100 copies, each individually signed and numbered by the artist. The artwork is a testament to Rostarr's distinctive visual language, where calligraphic strokes meet the spontaneity of street art. Bold red forms anchor the composition; their fluid contours and solid circles contrast sharply with the raw, improvised splatters of black spray paint. This interplay of color and form creates a dynamic tension, a visual symphony that captures the spirit of contemporary art. Each piece of 'Untitled Japan HPM' is a hand-painted, hand-printed celebration of unique expression, standing as a bold signature of Rostarr's iconic style. The artwork's limited availability makes it a coveted piece for collectors and enthusiasts eager to hold a part of art history that bridges the gap between the old and the new, the planned and the spontaneous. 'Untitled Japan HPM' is not just an artwork; it's a piece of cultural dialogue that resonates with the beats of modern urban life. Rostarr- Romon K Yang: Butterfly In The Hurricane 2004 Silkscreen Print Signed/Numbered Embark on a visual journey with 'Butterfly In The Hurricane,' a captivating silkscreen on paper by the acclaimed artist Rostarr, created in the transformative year of 2004. This piece exemplifies the dynamic interplay between form and fluidity, measuring an intimate 20 x 16 inches, and is part of an exclusive edition of 200, each bearing the unique signature and number assigned by the artist himself. Crafted during artistic exploration and boundary-pushing, 'Butterfly In The Hurricane' was released in conjunction with the groundbreaking exhibition 'Beautiful Losers: Contemporary Art and Street Culture,' which celebrated the confluence of underground art movements and the mainstream. The artwork features a storm of abstract shapes and curves, predominantly in shades of blue and yellow, evoking the chaotic grace of a butterfly caught in a storm. The bold colors swirl and dance across the paper, inviting viewers to contemplate the relationship between harmony and chaos. This piece is not merely a work of art; it's a statement, a slice of cultural history, and a testament to the artist's mastery of blending street culture's raw energy with the sophistication of contemporary art. 'Butterfly In The Hurricane' is a must-have for connoisseurs and collectors alike, promising to be a conversation starter and a cherished part of any collection. Craig R Stecyk III: Untitled 2004 Unique HPM Silkscreen Photograph Signed/Numbered A distinctive piece by Craig R. Stecyk III, this untitled artwork from 2004 is a brilliant example of the fusion between contemporary art and street culture. Crafted with meticulous attention to detail, the work features a hand-painted custom airbrush backdrop, a double-sided silkscreen is masterfully applied, along with pencil accents on robust, extra-thick white acid-free archival paper measuring 20 x 16 inches. Limited to an edition of 200, each piece is individually numbered and bears the artist's signature, underscoring its exclusivity. This artwork was released with the "Beautiful Losers: Contemporary Art and Street Culture" exhibit, which spanned from 2004 to 2009 and is held in high esteem within the Beautiful Losers Archive. The provenance of this piece traces back to Iconoclast Editions, a testament to its authenticity and cultural significance. Stecyk, a seminal figure in the Beautiful Losers project, created an installation that captivated audiences and garnered unprecedented acclaim. His work is a tribute to the vibrant Californian subcultures, drawing inspiration from custom car culture, surfing, and skateboarding, all depicted through his extensive photographic documentation. As a founding member of the Dogtown and Z-Boys, Stecyk's works are more than mere art; they are storied representations of a decadent cultural movement, rendered on paper with a palette that resonates with the energy and spirit of the streets. This piece is an artistic expression and a cultural artifact that captures the essence of Californian subcultures, immortalized through Stecyk's visionary lens. Craig R Stecyk III: Untitled Proof Gelatin Silver Silkscreen Print Signed/Numbered Craig R. Stecyk III's untitled piece is a statement of originality and artistic defiance. It is a part of an exclusive set of 100 artworks, each a gelatin silver and silkscreen print on paper, measuring 10.16 by 15.24 centimeters. The artwork boldly features the word "PROOF" in prominent red letters, asserting the piece's authenticity as an original generation photographic print. The text beneath serves as both a declaration and a restriction, emphasizing the print's purpose as a contractual document and expressly prohibiting reproduction, resale, and public display. The artist's signature underscores this boundary of exclusivity, scrawled energetically across the print, which authenticates each piece and marks it as a unique entity within the limited edition. The signature becomes an integral part of the artwork, blending with the textual message and the stark background, ensuring that each print is a testament to Stecyk's unique artistic philosophy and legacy within the art community. Tobin Yelland: Untitled Andy Roy Silkscreen Print 2004 Signed/Numbered Tobin Yelland's "Untitled (Andy Roy)" is a striking silkscreen that captures the essence of individuality and defiance, hallmarks of street culture. Produced in 2004, this piece features the image of Andy Roy, a figure synonymous with the skateboarding world, known for his raw style and unapologetic persona. Printed on high-quality paper, each piece within this limited edition spans 20 x 16 inches and is part of a series capped at 200 prints. Each is meticulously signed and numbered by Yelland, guaranteeing its authenticity and placing it within a lineage of sought-after collectibles. The artwork was created for the influential "Beautiful Losers: Contemporary Art and Street Culture" exhibition from 2004 to 2009. This exhibition was pivotal for celebrating and acknowledging street culture within the contemporary art scene, bringing the aesthetics of skateboarding, graffiti, and beyond into the gallery space. Originating from Iconoclast Editions and the Beautiful Losers Archive, "Untitled (Andy Roy)" is more than a portrait; it's a narrative of subculture, an emblem of the rugged spirit of street art, and a snapshot of a movement that has left an indelible mark on the canvas of contemporary art. Collectors and admirers of the genre will find in this silkscreen a piece that continues to resonate with the authenticity and vibrancy of street culture. Tobin Yelland: Skate Smash Window PhotMills' Signed/Numbered Tobin Yelland's "Skate Smash Window Photo" is a raw and dynamic black and white photograph that seizes a candid moment of youthful rebellion. Captured in 2004, this image epitomizes the spirit of the street and skate culture of the time. The photo showcases the spontaneity and impulsiveness inherent in the skateboarding subculture, embodied by the act of a skateboard crashing through a car window. The photograph was featured in the seminal "Beautiful Losers: Contemporary Art and Street Culture" exhibition, which took place from 2004 to 2009. This exhibition celebrated the fusion of street sensibilities with the art world, bringing the authenticity of subcultural experiences into a fine art context. Originating from the Beautiful Losers Archive, with provenance through Iconoclast Editions, this piece is not just a photograph but a narrative, a slice of life from a culture that often goes undocumented. Yelland's ability to capture such a raw, unfiltered moment creates a visceral connection with the viewer, offering a window into the unrestrained aspects of youth culture. The "Skate Smash Window Photo" is a testament to the era it represents, serving as a historical document of the defiance and disruptive energy that skateboarding means. It is a valuable piece for collectors and enthusiasts of photography and street culture, offering an unapologetic look at the moments defining a movement. Mike Mills: The Cops Are Inside Us Silkscreen Print 2004 Signed/Numbered Mike Mills' evocative piece "The Cops Are Inside Us." stands as a profound statement in contemporary art, utilizing the raw medium of hand-printed silkscreen combined with pencil on soft white acid-free archival paper. This 2004 work measures 20 x 16 inches and is part of an exclusive edition limited to 200 signed and numbered prints. Each print from this series is a testament to Mills' keen eye for the interplay of text and image, crafting a narrative that speaks to the internal struggle and societal introspection. The bold red hue dominating the print, fading into a stark, gritty representation at the bottom, creates a striking visual contrast, suggesting a duality within the human condition. This artwork was released with the pivotal "Beautiful Losers" exhibition showcased from 2004 to 2009. The exhibit highlighted the cultural significance of street art and its impact on contemporary art practices. "The Cops Are Inside Us" reflects the sentiment of its era and continues to resonate with current social commentaries, making it a timeless piece for collectors and enthusiasts of meaningful art. Coming from the revered Beautiful Losers collection, this piece by Mike Mills is not just a work of art; it is a piece of cultural commentary, preserved through silkscreen and offering a window into the complex dialogue between society and self. Cheryl Dunn: Drafted 2004 Signed/Numbered Silkscreen Print & Signed Photograph Cheryl Dunn's "Drafted." is a provocative silkscreen artwork that starkly captures a moment of human interaction, set against a vibrant yellow backdrop. This 2004 creation measures 20 x 16 inches and is part of a limited edition of 200, each individually signed and numbered by the artist, underscoring its exclusivity. The artwork presents a high-contrast scene featuring silhouetted figures, one seated on the ground and the others seemingly in motion. Dunn's silhouettes create a universal narrative, allowing viewers to impart their stories and meanings onto the piece. The title "drafted." suggests themes of compulsion and resistance, resonating with viewers on a deeply personal level. Released during the influential "Beautiful Losers: Contemporary Art and Street Culture" exhibition, which spanned from 2004 to 2009, this piece contributes to the dialogue between street culture and fine art. The exhibition was a pivotal showcase for artists influenced by subcultural forms such as skateboarding, graffiti, and punk. Emerging from the prestigious Beautiful Losers Archive and produced by Iconoclast Editions, "drafted." is more than a piece of art; it's a cultural artifact that embodies the spirit of a movement. It is a powerful expression of Dunn's perspective and a visual commentary on the forces shaping our society. Collectors of contemporary art and street culture lovers will find a compelling blend of aesthetic boldness and social relevance in this work. Cheryl Dunn: C-4 San Francisco Tenderloin Hallway Giclee Print 2004 Signed/Numbered Presenting a captivating giclée print by Cheryl Dunn, this work transports the viewer to the vibrant heart of San Francisco's Tenderloin district. The piece, titled "C-4 San Francisco Tenderloin Hallway," is a testament to Dunn's keen eye for the raw and the real, capturing an evocative moment in a hallway that whispers tales of the city's urban fabric. The print measures display-friendly 15 by 10 inches, meticulously numbered and personally signed by Cheryl Dunn, signifying its authenticity and connection to the artist's original vision. This limited edition print is one of only 100 copies, making it a unique and collectible piece for art lovers and admirers of urban exploration. The subject stands in the narrow corridor, embodying a sense of stillness amidst the potential for city chaos. The individual is clad in a striking red and green jacket, adorned with whimsical bear ears that lend an air of innocence to the otherwise gritty scene. This person holds a spray paint can, suggesting a story of street art and expression. At the same time, the jacket pockets are intriguingly stuffed with additional cans, perhaps hinting at the artist's commentary on youth, rebellion, or creativity in urban spaces. Cheryl Dunn's print not only offers a visual narrative but also evokes a discussion on the cultural heartbeat of city life, the layers of stories packed into its walls, and the vibrant characters that walk its paths. This piece is more than a photograph; it's a slice of San Francisco's soul, beautifully preserved in high-quality giclée. Cynthia Connolly: Untitled Ice Machine Silkscreen Print 2004 Signed/Numbered Cynthia Connolly's "Untitled" from her "Ice Machines" series is a captivating silkscreen on paper, measuring an impressive 16 x 20 inches. This piece is part of a limited edition run of 200, each bearing the artist's signature and a unique number, marking its authenticity and limited availability. Crafted with an eye for the Americana aesthetic, this artwork is a poetic documentation of the once-ubiquitous ice machines dotted the American landscape, now a vanishing emblem of a bygone era. Connolly's work is celebrated for its ability to capture these fleeting slices of American life, preserving the nostalgia and cultural significance that these everyday objects hold. The "Untitled" print was published to commemorate the "Beautiful Losers: Contemporary Art and Street Culture" exhibition, which took place from 2004 to 2009. This exhibition was a pivotal moment that brought the rawness of street culture into the refined spaces of art galleries, highlighting the work of artists who draw inspiration from street aesthetics, skateboarding, and the undercurrents of subculture. Connolly's photographs, renowned for their poignant simplicity and depth, are held in the permanent collections of esteemed museums. This print, part of the "Ice Machines" body of work, reflects her dedication to chronicling elements of American life that are slowly fading from view. For collectors and admirers of contemporary art with a touch of nostalgia, Connolly's "Untitled" is a must-have. It's not just a silkscreen print; it's a piece of cultural heritage, a thoughtful reflection on the transient nature of the every day, and a beautiful work of art from a distinguished photographer and artist. Geoff McFetridge: The Hidden Radiance Silkscreen Print 2004 Signed/Numbered "The Hidden Radiance" by Geoff McFetridge is a testament to the artist's mastery of visual rhythm and narrative within the confines of silkscreen printing. Created in 2004, this silkscreen on paper measures 20 x 16 inches, a size that allows the intricate patterns and striking blue palette to envelop the viewer's field of vision—each element within the tessellated design pulses with an energy emblematic of McFetridge's graphic artistry. Upon closer inspection, one can discern the meticulous composition of abstract and figurative forms. This patterned artwork is a sophisticated visual puzzle where geometric and organic shapes converge to create a sense of depth and movement. The repetition of the elements serves an aesthetic purpose and weaves a deeper narrative, alluding to the interconnectedness of individuals within a community or the repetitive yet unique nature of urban landscapes. Signed by the artist, this piece holds the personal touch of McFetridge, ensuring its authenticity and connecting the collector directly to the creative process. "The Hidden Radiance" was featured in the renowned "The Beautiful Losers Portfolio" at Agnes B Gallery in Los Angeles as part of a collection celebrating the synergy between contemporary art and street culture. It is also highlighted in the pivotal book "Beautiful Losers: Contemporary Art and Street Culture," published by Edition Iconoclast, which documents this artwork's cultural phenomenon. This silkscreen print is a decorative piece integral to the dialogue between street pop art and mainstream art scenes. It is a collector's piece that captures the essence of McFetridge's influence on the visual language of contemporary art. This language speaks to the discerning art enthusiast and the vibrant street culture aficionado. Ed Templeton: Untitled Shocked Woman Silkscreen Print 2004 Signed/Numbered Presenting a compelling piece by Ed Templeton, "Untitled Shocked Woman" is a work that encapsulates the raw and expressive potential of silkscreen printing. Crafted in 2004, this piece measures 16 x 20 inches and is part of a limited edition of 200, each signed and numbered by Templeton, ensuring its exclusivity and collectible status. This silkscreen print showcases Templeton's unique ability to capture the human condition in its most vulnerable and candid moments. The artwork features the image of a woman, her expression of surprise or shock, a narrative moment frozen in time by Templeton's adept hand. The use of stark, contrasting colors and the overlay of abstract elements give this piece a dynamic quality that is both disturbing and intriguing. The imagery is imbued with immediacy and intimacy, characteristic of Templeton's approach to art. It challenges viewers to confront the unexpected and often unsettling emotions that his subjects display. The raw brushstrokes and the deliberate obscuring of details invite an exploration into the themes of privacy, emotion, and the voyeuristic nature of art. "Untitled Shocked Woman" was published during the seminal exhibition "Beautiful Losers: Contemporary Art and Street Culture," which celebrated the intersection of underground art scenes and mainstream recognition. Templeton's work is a testament to the power of street pop art to convey profound human experiences, making this piece a valuable acquisition for collectors and enthusiasts of contemporary art. James Jarvis x Amos Toys: In-Crowd The Thin Blue Line Wiggins Signed Figure Fine Art Toy 2004 He is introducing the "In-Crowd: The Thin Blue Line Wiggins" - a limited-edition of 100 signed series 3.5x6 collector's item that merges the imaginative world of James Jarvis with the tangible delight of fine art toys. Created in collaboration with Amos Toys, this figure represents a unique synthesis of art, collectibility, and narrative, culminating in a 6-inch (approximately 10cm) vinyl figure named Wiggins, part of a highly exclusive series limited to just 1660 overall pieces worldwide. Wiggins, the diminutive law officer, stands proudly in his uniform, crafted with meticulous attention to detail. From the top of his classic police hat to the soles of his steadfast boots, every element of his attire has been thoughtfully designed to reflect his character's essence. He holds a club, an accessory that hints at his readiness to jump into action and restore order. Yet, his face, with a mustache poised above a stern expression, suggests a depth of personality beyond his official duties. Each figure arrives encased in a beautifully designed box, proudly displaying the signature of James Jarvis, a mark of authenticity and a direct connection to the artist's hand. The packaging is as much a work of art as the figure itself, with the silhouette window showcasing Wiggins in a presentation that blurs the line between toy and art sculpture. Wiggins is not just a character but a storyteller in his own right, embodying the complexities of his profession with a twist of Jarvis's characteristic humor and insight. According to his backstory, when not patrolling the streets, he is penning confessional poetry, providing a glimpse into his sensitive soul—a contrast to his authoritative figure. This piece is a must-have for fans of street pop art and those who appreciate the intersection of art and playfulness. It is a tribute to the offbeat charm and creative vision that James Jarvis is renowned for, making "In-Crowd: The Thin Blue Line Wiggins" a standout addition to any collection of fine art toys or contemporary art pieces. ESPO- Steve Powers: Untitled Next Door HPM Silkscreen Print 2006 Signed/Numbered Steve Powers' "Untitled (Next Door...)" is an exemplary piece of contemporary art, blending the rawness of street art with the sophistication of a gallery piece. This silkscreen on paper, measuring 16 x 20 inches, is part of a limited edition of 200, each individually signed and numbered by the artist, ensuring its status as a collector's item. A standout feature of this artwork is that each print includes unique hand-drawn elements by Powers, making every piece a one-of-a-kind treasure. The artwork is infused with Powers' characteristic wit and visual language, featuring bold graphics and textual interplay that convey a complex narrative. Published in conjunction with the celebrated "Beautiful Losers: Contemporary Art and Street Culture" exhibition, which spanned from 2004 to 2009, this print captures the essence of a movement that blurred the boundaries between underground and mainstream art. The varied elements, from the "Misfit" puzzle piece to the sad figure with a top hat, all speak to themes of identity, societal pressures, and the existential search for meaning. Originating from Iconoclast Editions and the Beautiful Losers Archive, Powers' "Untitled (Next door...)" is not merely a piece of printed art; it's a dialogue with the viewer, a satirical commentary on the human condition, and a reflection of Steve Powers' (aka ESPO) distinctive voice in the world of art. This piece will complement any art collection and serve as a conversation starter due to its vibrant imagery and the artist's unique storytelling prowess. ESPO- Steve Powers: Handy Signs for People You Know in New York City Custom HPM Print 2006 Steve Powers, also known as ESPO, brings the dynamic essence of urban communication to life with his "Handy Signs for People You Know in New York City" from 2006. This collection of die-cut stickers is more than mere decoration; it's a form of expression, embodying the pulse of New York City's streets. Each sticker is a burst of color and symbolism, measuring 12-1/8 x 10-1/4 inches, designed to capture the attention and provoke thought. This piece cleverly categorizes the various archetypes one might encounter in the bustling metropolis: "CONFUSERS" with a pointing hand in blue, "ABUSERS" with a thumbs down in red, "USERS" with a pointing finger in green, and "PRODUCERS" with a handshake in black—the background's vibrant yellow acts as a visual megaphone, amplifying each sign's message. Powers' artwork is a commentary on the social dynamics of city life, each sign a shorthand for the complex interactions that define the urban experience. Released as a custom, high-pressure matte (HPM) die-cut sticker sheet, these stickers are designed to adhere to any surface, turning everyday objects into mediums for social dialogue. "Handy Signs for People You Know in New York City" is an interactive art piece and a cultural artifact that reflects the artist's keen observation of the characters that make up the fabric of city life. For collectors and admirers of Steve Powers' work, this sticker sheet is a unique blend of graphic design, street art, and wry commentary—all hallmarks of Powers' distinct style. Jo Jackson: Untitled Silkscreen Print 2004 Signed/Numbered & "States" Artist Book Jo Jackson's "Untitled" from 2004 is a serene silkscreen print that captures the minimalist essence of natural forms through color and shape. Measuring 16 x 20 inches, this work is part of a limited edition series, with each piece signed and numbered by the artist, underscoring its exclusivity and collectible value. States is a limited edition flip book zine of 100. The print features a stark, icy peak set against an excellent blue background, evoking a sense of calm and contemplation. The mountain's apex is met with a singular, detailed snowflake, suggesting the purity and uniqueness of nature's creations. Below, a field of white dots dances across the base, reminiscent of a quiet snowfall or a starry night sky. Released in alignment with the "Beautiful Losers: Contemporary Art and Street Culture" exhibition from 2004 to 2009, Jackson's artwork reflects the introspective and often meditative qualities that contemporary art can elicit. The exhibition was a landmark event showcasing artists who drew inspiration from street culture, graffiti, skateboarding, and other subcultural art forms. Emerging from the Beautiful Losers Archive, this piece represents a moment in contemporary art where simplicity and symbolism converge. For collectors and enthusiasts alike, Jackson's "Untitled" is not just a print but a piece of tranquil beauty, offering a moment of reflection amidst the chaos of everyday life. It is a testament to the artist's ability to distill complex emotions into a single, poignant image. Thomas Campbell: People Of Pangea Silkscreen Print 2005 Signed/Numbered Thomas Campbell's "People Of Pangea Unite" is a compelling silkscreen on paper that encapsulates a whimsical and thought-provoking perspective on unity and the natural world. This 2005 piece is part of a limited series, individually signed and numbered by the artist, making each print a collectible artifact. The artwork portrays a surreal landscape where human figures merge with the trunk of a tree, creating a visual metaphor for interconnectedness. Above, a speech bubble unfurls with the text, "WHAT EXACTLY ARE CONSERVATIVES CONSERVING," a provocative prompt encouraging viewers to ponder political and environmental stewardship. The piece is punctuated with vibrant splashes of color amidst an otherwise earth-toned palette, drawing the eye across the playful composition. Published for the "Beautiful Losers: Contemporary Art and Street Culture" exhibition, which ran from 2004 to 2009, Campbell's print embodies the exhibition's celebration of subcultural art forms and their influence on contemporary art. The exhibition was a significant cultural event, bringing the ethos of skateboarding, graffiti, and street art into the gallery space. "People Of Pangea Unite" is a testament to Campbell's unique ability to blend the fantastical with the critical, offering a statement that is both aesthetically pleasing and intellectually stimulating. For collectors, this print is not just a piece of art; it's a conversation piece that captures a distinctive moment in contemporary art history, characterized by its boldness and ability to challenge the status quo. Thomas Campbell: T Moe Still Smoking Paul Frank Limited Edition Hand Made Custom Wallet 2005 Thomas Campbell's "Still Smoking" is a bespoke, handcrafted wallet, a functional piece of art that fuses utility with the vibrancy of the street culture. Created in 2005, this limited edition item celebrates personal style and artistic flair. Adorned with a myriad of whimsical illustrations that are signature to Campbell's aesthetic, the wallet boasts a light blue background with vivid, contrasting images. From the playful depiction of clouds to the stylized structures and whimsical figures, each element is rendered with a sense of joy and a bold, graphic sensibility. The wallet was released as part of commemorating the "Beautiful Losers: Contemporary Art and Street Culture" exhibition, which took place from 2004 to 2009. This global event was a landmark for showcasing the intersection of skateboarding, graffiti, and street art within the contemporary art scene. Campbell's "Still Smoking" wallet is not just an accessory but a collectible piece that captures the essence of an era where art was not confined to galleries but was carried in the pocket, a part of the everyday. It is a tribute to the spirit of "Beautiful Losers" and a must-have for collectors who appreciate the blend of art and everyday life. Andy Jenkins: Untitled Hang Unique HPM Print 2005 Signed/Dated A compelling piece from Andy Jenkins, this artwork is part of a unique collection of 100 inkjet prints, each approximately 11 by 9 inches. This untitled work is a symphony of visual elements, combining typography, graphic design, and hand-drawn illustrations to create a layered narrative. The piece boldly features the word "HANG" in oversized, staggered letters that dominate the visual field, set against a backdrop that intriguingly blends elements of a calendar and handwritten script, suggesting the passage of time and the fleeting nature of moments. A sketched rocket positioned alongside the typography adds a dynamic sense of motion and exploration, further enriching the story told by the print. Each print in this limited edition is individually signed and dated by Jenkins, ensuring its authenticity and connecting the collector directly to the artist's creative journey. This artwork is not just a visual statement but a testament to Jenkins' multidisciplinary approach, where text and image are interwoven to engage and challenge the viewer. Andy Jenkins: Untitled Circle HPM Unique Print 2005 Signed/Dated Andy Jenkins' "Circle Untitled HPM Print" from 2005 is a remarkable example of contemporary printmaking that marries the simplicity of geometric forms with the complexity of individual expression. This piece, one of a hundred unique inkjet prints, each measuring approximately 11 by 9 inches, showcases Jenkins' mastery of form, color, and composition. The artwork features two bold, black circles dominating the visual field; they form a study of perfect symmetry and balance. Surrounding these central figures appear to be handwritten notes and doodles, some clear, some obscured, hinting at the artist's process or perhaps thoughts left intentionally cryptic. The print is set against a pristine white background, which not only accentuates the vividness of the black circles and the red accents within one of them but also gives prominence to the subtle text and line work that invite the viewer to lean in closer. Each print in this series is signed and dated by Jenkins, indicating a personal touch and authenticity that collectors and admirers of art often seek. The limited edition nature of these prints makes each one unique in terms of its place in the series and the slight variations that occur in inkjet printing. Jenkins' "Circle Untitled HPM Print" is not just a visual experience but a tactile one as well, with the artist's choice of paper and printing technique contributing to the overall presence of the work. It is a testament to Jenkins' ability to convey depth and narrative within the minimalist framework, engaging the observer in a silent, reflective, and universal dialogue. With its clean lines and intriguing details, this piece is a compelling addition to any collection that values the intersection of modern design and personal expression within fine art printmaking. Andy "Mel Bend" Jenkins: Scribble Scrabble Silkscreen Print 2005 Signed/Numbered Andy Jenkins' "Scribble Scrabble" is an intriguing silkscreen and graphite work on paper, capturing the viewer's imagination through its bold graphic quality and playful engagement with typography. Measuring 20 x 16 inches, this piece is part of a finite edition of 200, each numbered and personally signed by Jenkins, affirming its uniqueness and collectible status. The composition features a raised fist entwined with flowing, ribbon-like lines against a backdrop of soft grays, punctuated by the eponymous "Scribble Scrabble" banner in striking black and red. Jenkins' graphic sensibility, honed through years as a pivotal creative in skateboarding culture, is on full display, merging elements of street art with delicate art sensibilities. Released with the seminal "Beautiful Losers: Contemporary Art and Street Culture" exhibition from 2004 to 2009, "Scribble Scrabble" represents the creative evolution of skateboarding's aesthetic into gallery spaces. Jenkins, a versatile artist known for his work as a comic artist, illustrator, and creative director, co-founded Dirt magazine with Spike Jonze and Mark Lewman in the early 1990s, further cementing his influence in the subculture. "Scribble Scrabble" by Andy Jenkins is more than a print; it reflects a creative force shaping skateboarding culture's visual language. It holds a place of honor within the Beautiful Losers Archive, representing a time when the lines between subculture and high culture were blurred and beautifully intertwined. Terry Richardson: Smilen Broadway Eye Glasses Art Object 2004 This intriguing art object by Terry Richardson, titled "Smilen Broadway Eye Glasses," is a testament to the fusion of functional design and artistic expression. Presented as an art object from 2004, this pair of black eyeglasses represents Richardson's distinctive visual style, known for its boldness and directness. The glasses measure approximately 3 x 8 x 3 inches, embodying a sense of style within their compact form. The eyeglasses rest against a backdrop that reads "BROADWAY Collection SMILEN EYEWEAR," suggesting a theme of commercialism intertwined with personal identity. The clear acrylic lenses are set in a classic black frame, a color choice with timeless appeal. These glasses are not just accessories; they are statement pieces that reflect the wearer's personality and the artist's unique perspective on everyday objects. Crafted with meticulous attention to detail, the glasses carry the specifications "STYLE STEVEN COLOR BLACK SIZE 56-16 TEMPLE 145," denoting their bespoke nature. The art object blurs the lines between practical objects and collector's items, challenging the boundaries of what is typically perceived as art. Richardson's work here invites viewers to contemplate the intersection of visual culture, fashion, and personal expression, making it a compelling addition to any collection that values the innovative integration of art into daily life. Ari Marcopoulos: Justin Silkscreen Print 2004 Signed/Numbered Capturing a moment in contemporary portraiture, "Justin" by Ari Marcopoulos is a 2004 silkscreen creation on acid-free archival paper, measuring 20 x 16 inches. This work is part of a coveted limited edition series, with only 200 pieces, each meticulously signed and numbered by Marcopoulos, ensuring its exclusivity and collectible status. Set against a bold pink background, the portrait of 'Justin' is a compelling study of character and form. The stark contrast between the vivid backdrop and the monochromatic subject allows the figure to emerge with depth and introspection. The subject's neutral expression is rendered with a minimalist aesthetic, capturing a serene yet penetrating gaze that seems to look beyond the paper. This piece was published to mark the "Beautiful Losers" exhibit, a celebration of art that blurs the lines between street culture and high art. It reflects the movement's ethos, encapsulating a raw, unadulterated snapshot of youth and subculture. "Justin" is not just a portrait; it is a statement, a piece that speaks to the collector with an appreciation for the convergence of the art form with the zeitgeist of its time. It is a timeless addition to any collection, offering aesthetic beauty and cultural significance. Ari Marcopoulos: "I Might Be Wrong" Artist Art Book 2005 This image is a striking visual piece from Ari Marcopoulos' art book, "I Might Be Wrong," released as a limited fanzine in 2005 numbered limited edition of 100. This compelling work showcases Marcopoulos' skill in capturing street culture's raw and authentic essence. The photograph, printed in offset for precise, sharp detail, measures 20.32 x 12.7 cm, a size that invites close inspection and personal engagement with the viewer. In this monochrome portrayal, a figure stands before a weathered brick wall, their identity concealed behind what appears to be a boombox with eyes, evoking a sense of urban anonymity and artistic subterfuge. The boombox is a poignant symbol of the music and street scenes of the past decades, suggesting a narrative that intertwines personal expression with cultural artifacts. The backdrop is plastered with flyers, including one prominently featuring an announcement for the Alleged Gallery, providing context and anchoring the image in a specific cultural milieu. This edition numbered and limited to 100 copies, is a collector's item, offering an intimate glimpse into the artist's perspective on urban life and art. Marcopoulos is known for his documentary style that often explores the fringes of mainstream culture, and this image is a testament to his ability to find beauty and meaning in the everyday. Collectors and admirers of contemporary photography and street art will recognize the value of this art book as a touchstone for the dynamic and ever-evolving narrative of street culture. Todd James: Alive with Pleasure Silkscreen Print 2005 Signed/Numbered Introducing "Alive With Pleasure" by Todd James, a remarkable 2005 silkscreen creation on paper that vibrates with the artist's iconic energy and stylistic flair. This piece, measuring 7 x 5 inches, is part of an exclusive numbered edition of 100, making it a rare collectible for contemporary art enthusiasts. In this work, James continues to explore the themes of joy and exuberance that permeate much of his oeuvre. The composition features two figures rendered in a monochromatic pink hue that is striking and playful. The foreground is dominated by a character holding a smoke, her expression of unadulterated happiness, eyes closed, and a wide, toothy smile conveying a sense of contentment and delight. Behind her, a second figure, partially obscured, echoes this sentiment with a hand over her mouth smoking, suggesting laughter or a shared secret. James's line work in "Alive With Pleasure" is fluid and confident, with a cartoonish exaggeration immediately recognizable as his signature style. The characters are adorned with details such as the rainbow motif on the central figure's shirt, which adds a layer of visual interest and could be interpreted as a nod to themes of diversity and inclusion. This silkscreen print is not just a piece of art; it's a snapshot of happiness, a representation of life's simple pleasures, and a celebration of the moments that make us feel truly alive. It's a testament to Todd James's ability to capture the spirit of street pop art and package it in a format that resonates with the viewer on a visceral level. For collectors and admirers of Todd James's work, "Alive With Pleasure" is more than an artwork—it's an infusion of joy and an accurate representation of the artist's enduring appeal. Todd James: BullieJames'screen Print 2005 Signed/Numbered Presenting "Bullies" by the acclaimed artist Todd James, also known in the art circles as REAS, this 2005 silkscreen on paper is a vibrant testament to his renowned style deeply rooted in street culture and animated aesthetics. Measuring 20 x 16 inches, this piece is part of a limited edition of 200, each individually signed and numbered by the artist, ensuring its uniqueness and collectability. The artwork showcases four cartoon-like characters, each rendered with exaggerated expressions and gestures that convey a sense of movement and interaction. With its green complexion and fist raised, the dominant figure symbolizes the 'bully' archetype, a recurring theme in REAS's work, which often explores power dynamics and societal roles through a playful yet critical lens. Released in conjunction with the "Beautiful Losers: Contemporary Art and Street Culture" exhibition, "Bullies" encapsulates the energy and ethos of the street culture movement. The use of bold, primary colors and fluid lines is characteristic of Todd James's approach, where he blends elements of graffiti art with a refined art sensibility. This piece is a visual delight and a significant part of the dialogue between street art and mainstream contemporary art. It resonates with the rebellious spirit of the underground scenes from which Todd James emerged while also holding a mirror to society's broader narratives of confrontation and resilience. "Bullies" is a compelling example of Todd James's impact on the evolution of graffiti and street pop art, making it a coveted piece for collectors and enthusiasts. It embodies the fusion of street savvy and aesthetic finesse, a hallmark of James's artistic journey and a colorful addition to any collection. Wes Humpston: Bulldog Skates Silkscreen Print 2004 Signed/Numbered Featuring a striking blend of bold imagery and vibrant colors, the 'Bulldog Skates artwork by Wes Humpston is a profound piece that captures the essence of skateboarding culture. Created in 2004, this work is crafted with silkscreen and graphite on paper and stands at 20 x 16 inches. It belongs to a special edition limited to 200 pieces, each meticulously numbered and personally signed by the artist, establishing a direct connection between Humpston and the collector. This artwork was unveiled during the critically acclaimed exhibit "Beautiful Losers: Contemporary Art and Street Culture," which celebrated the rich visual language of street culture and its influence on contemporary art. 'Bulldog Skates' is emblematic of Humpston's distinctive style, incorporating elements of street pop art and graffiti artwork. The central image—a fiery-eyed bulldog encapsulated within vibrant green flames—is not just a logo but an icon representing skateboarders' rebellious spirit and fiery passion. The vertical text that borders the central figure, reminiscent of graffiti tags, bears the name 'Bulldog Skates', reinforcing the brand's identity and roots in street art's gritty, raw energy. Humpston's artwork is a testament to the authenticity and creative freedom that defines the street skating scene, resonating with enthusiasts and art collectors alike. 'Bulldog Skates' is more than a piece of art; it is a cultural artifact that embodies the spirit of an era and a community that thrives on the edge of societal norms. Glen E Friedman: My Rules Silkscreen Print 2004 Signed/Numbered This dynamic silkscreen creation, 'My Rules,' by the acclaimed artist Glen E. Friedman, was produced in 2004. This piece, a bold representation of street culture's impact on visual arts, measures 20 x 16 inches and is part of a limited edition series, with only 200 prints available worldwide. Each piece is individually signed and numbered by Friedman, adding a personal authentication to the collector's item. Crafted with the precision and vibrancy characteristic of silkscreen printing, 'My Rules' serves as a visual manifesto of the punk and skateboarding ethos. The artwork was unveiled as part of the iconic 'Beautiful Losers: Contemporary Art and Street Culture' exhibition, which celebrated the crossover of street art into the gallery space. 'My Rules' is an emblem of the artist's storied career in documenting the rebellious spirit of youth subcultures. The print is a montage of energetic portraits and live-action shots, centering around a commanding figure vocalizing the title's sentiment. The electric lime-green typography slices through the monochrome backdrop, asserting the defiant tone of the work. This piece is not just an artwork; it is a historical archive that captures the pulse of a movement. It embodies the voice of a generation that challenged norms and lived by their own rules. Owning a piece from this edition is not just an investment in art; it's an acknowledgment of a transformative period in contemporary art, where the streets conversed with the studio, and Glen E. Friedman was there to capture it all. Chris Johanson: Untitled Why Are They So Frantic Silkscreen 2004 Signed/Numbered Untitled Why Are They So Frantic? by Chris Johanson is a compelling silkscreen that speaks volumes through its combination of text and imagery. Created in 2004, this piece is meticulously printed on acid-free archival paper, measuring 20 x 16 inches. It is part of a limited edition series, with only 200, each hand-signed and numbered by Johanson himself. This artwork was conceived for the groundbreaking "Beautiful Losers: Contemporary Art and Street Culture" exhibit that celebrated the influential movements in skate, graffiti, and street art from 2004 to 2009. The piece features an alien figure rendered in a minimalist outline, which serves as a conduit for a message that challenges the viewer to reflect on issues of hysteria and vulnerability within society. The bold, bright green backdrop accentuates the urgency and reflective nature of the text. Johanson's work traveled across various locations as a part of the "Beautiful Losers" exhibition. It was later featured in the "Transfer" shows in Brazil, at Santander Cultural in Porto Alegre and the Brazilian Cultural Pavilion in Ibirapuera Park, Sao Paulo. The influence and reach of the piece are further documented in the "Beautiful Losers" and "Transfer" bibliographies. Originating from the Beautiful Losers Archive, this artwork is a piece of visual culture and a historical snapshot, encapsulating the ethos of a movement that blurs the lines between the gallery and the street. It offers a unique opportunity for collectors and enthusiasts to engage with a pivotal time in contemporary art through Johanson's introspective lens. Chris Johanson: Love Not War Button Badge Set 2004 Numbered Chris Johanson's "Love Not War" is a thought-provoking collection of button badges measuring ten by 17.78 centimeters. This set, presented in a limited edition of 100 copies, reflects Johanson's engagement with contemporary socio-political themes encapsulated within each badge's brief, powerful messages. The badges, set against a vibrant backdrop of yellow with one standout in green, serve as wearable art that invites reflection and discourse. They echo the artist's commitment to peace, support for grassroots entrepreneurship, and critique of consumer culture and war. Each badge is a conversation starter, from advocating for human rights vigilance in global commerce to promoting inner tranquility and love. This numbered collection is a piece of art and a historical commentary, capturing the essence of advocacy and personal expression in miniature manifestos. Johanson's artistry turns wearing a badge into a statement of unique ethos and a call to social consciousness. Mark Gonzales & Harmony Korine: "Adulthood" Artist Art Zine 1995 "Adulthood" is a poignant collaborative art zine from 1995 by Mark Gonzales and Harmony Korine, artists known for their influential work within the skateboarding and film communities, respectively. This fanzine is a physical manifesto of the era's subculture, rendered through the photocopied medium that gives it a raw, authentic aesthetic. Measuring approximately 20.32 x 12.7 cm, the zine is a handheld testament to the DIY ethos that permeated the underground art scenes of the time. The cover features a grainy, high-contrast image of four young men, evoking the style of early 20th-century portraiture yet brimming with the defiant attitude of the 90s. Beneath the image, the names "Mark Gonzales" and "Harmony Korine" boldly declare this collaborative effort, uniting two distinct creative forces in a shared vision. The title "ADULTHOOD" looms above in stark, typewritten letters, juxtaposed with the date "First ish. March 1995," anchoring the piece in a specific moment of cultural production. Limited to 100 copies, this edition is as much a collectible as it is a slice of cultural history, capturing the ethos of a generation poised on the cusp of adulthood yet profoundly entrenched in the subversive youth culture of the time. Each zine serves as a snapshot of the period, a tangible artifact that embodies the spirit of collaboration and creativity that Gonzales and Korine are celebrated for. This work is a must-have for collectors and enthusiasts of 90s skate culture, indie film, and the raw energy of street-inspired art. Mark Gonzales: Limited Edition Krooked Air Freshener Art Object 2004 Embodying the skate culture aesthetic, Mark Gonzales presents the Limited Edition Krooked Air Freshener, a vibrant art object marring functionality with street art flair. Released in 2004 as part of the Beautiful Losers Portfolio, these air fresheners transcend their practical use, standing as collectible pieces reflective of Gonzales's artistic vision. Each air freshener features the distinctive Krooked skateboarding brand's playful and irreverent character, rendered in bold, graphic outlines. Available in two designs, the first flaunts a rich purple hue, embodying the Krooked eyes motif. In contrast, the second design showcases the brand's signature character in a stark white against a striking blue background. These art objects were curated for the seminal "Beautiful Losers: Contemporary Art and Street Culture" exhibition, which celebrated the influential DIY spirit in art from 2004 to 2009. The collection taps into the heartbeat of street culture, infusing everyday items with a sense of artistry and rebellion against the mainstream. Originating from Iconoclast Editions and the esteemed Beautiful Losers Archive, the Krooked Air Fresheners holds a special place in the chronicles of contemporary art. They serve as a testament to GGonzales' impact on the skateboarding and art communities and a symbol of the era's diffusion of underground art with everyday life. These limited edition pieces are coveted by collectors and enthusiasts, representing a moment when street culture boldly claimed its space in the world of high art. Phil Frost: Custom Superwide Poster Refillable Marker 2004 Phil Frost presents a unique fusion of utility and artistry with his Superwide Marker and Poster Marker, crafted in 2004. These custom plastic refillable markers are more than mere tools; they are individual art pieces, standing approximately 2 x 5 inches, and are part of a limiwoman'stwomen'siwomen's00 each. The markers are adorned with FFrost's distinctive tribal-esque motifs in black against a vivid orange backdrop. This design is instantly recognizable to those familiar with FFrost'swork, known for its intricate patterns and a keen sense of the priMill's yet contemporary visual language. Sourced from Iconoclast Editions and part of the Beautiful Losers Archiv", these markers embody the ethos" of the "Beautiful Losers: Contemporary Art and Street Culture" exhibition. This project celebrated the DIY culture and street art that influenced a generation of artists. For MMills'srs, these markers are a tangible slice of the exhibition, encapsulating the essence of street culture's impact on contemporary art. They are a testament to the vision where the everyday object becomes a canvas, blending form and function with the fluidity of street art. These markers are functional items and collectible works that carry the artist's artist's signature style into the hands of creatives and art enthusiasts alike. Mike Mills: The Architecture of Reassurance 1999 Mini Book Mike MMills's" The Architecture of Reassurance" is a captivating softcover artist book that serves as a visual extension of his short film. Released in 1999, this first edition book measures 7 x 4.25 inches and is a rare collectible sourced directly from the Beautiful Losers Archive. Within its pages, the book offers a rich collection of photographs and film stills that capture the essence of a young woman's women's women's journey through the suburban landscapes around Los Angeles. These images are woven together to create a narrative that explores themes of urban isolation, the search for identity, and the comforting yet sometimes sterile uniformity of residential design. Mill's work is renowned for its ability to distill profound socio-cultural observations into minimalist visuals. "the Architecture of Reassurance" is no exception, reflecting thoughtfully on our environments and how they shape our experiences and perceptions. This intimate publication is a book and a portable gallery of MMills's cinematic and photographic talent. For admirers of MMills' work and those interested in the interplay between film, photography, and urban theory, this artist is an invaluable addition to their collection, offering a tactile piece of the late 20th-century zeitgeist. Clare Rojas: Peggy Honeywell Faint Humms Limited Edition CD 2004 This art object is a limited edition CD titled Peggy Honeywell "Faint Humms" by Clare E. Rojas, an artist whose work spans a variety of mediums, often exploring themes of identity and folklore. Released in conjunction with the influential exhibit "Beautiful Losers: Contemporary Art and Street Culture," this CD is not only a vessel of Rojas' auditory art but also a collectible item that represents the intersection of music and visual art within the street culture milieu. The CD is presented in a striking orange case, which underscores Rojas' bold use of color in her visual artworks. The case is enveloped in a foam liner, ensuring the protection of the disc and echoing the care typically given to preserve art objects. The disc, with its reflective surface creating a spectrum of colors, is reminiscent of Rojas' characteristic style, which often employs vibrant, contrasting hues. This piece is a tangible connection to the ethos of the "Beautiful Losers" exhibition, which celebrated the diverse art forms emerging from street culture and its influence on contemporary art. As a limited edition release, this CD is a snapshot of a particular moment in art history, embodying the creative spirit of an era where the lines between different artistic disciplines were blurred to create new forms of expression. Collectors and enthusiasts of Clare E. Rojas' work and those who appreciate the legacy of street culture in art will find this CD a meaningful addition to their collection. Ryan McGinness: Custom Sticker Pack 2005 Signed/Numbered This art piece is a Custom Multiverse Sticker Pack by Ryan McGinness, an artist renowned for graphic representations and organic forms. The pack, released in 2005, is part of a special edition, limited to 100 copies, each meticulously signed and numbered by McGinness, indicating its position as #of 100. The dimensions of the case are 12.7 x 12.7 cm, a compact size that encapsulates the essence of McGinness' design philosophy. Presented in a sleek silver case that shimmers with a metallic sheen, the pack embodies a sense of exclusivity and modernity. The artist's signature on the left side of the envelope certifies the work's originality. At the same time, the iconic crown emblem of the Ryan McGinness Studios logo on the right is a stamp of quality and authenticity. Inside, the case contains an array of stickers, each a fragment of McGinness' vibrant multiverse. These are not mere embellishments; they are adhesive artworks, allowing the bearer to carry a piece of the McGinness aesthetic into the world. The stickers serve as a portable gallery, a democratization of art at the heart of McGinness' ethos. This Multiverse Sticker Pack is a collectible that blurs the boundaries between high art and the accessible art form of stickers. For admirers of Ryan McGinness' work, this pack is a unique opportunity to own a piece of art history that is interactive, playful, and deeply rooted in the visual language of contemporary culture.

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The Beauty of Liberty & Equality PP Printers Proof Austin Mural by Jon Furlong Off Set Lithograph Print Limited Edition Artwork on Fine Art Paper by Shepard Fairey X Sandra Chevrier, an urban graffiti pop street artist. AP Artist Proof 2020 Signed by Shepard Fairey & Sandra Chevrier & Marked AP Off Set Lithograph Print Artwork Size 18x24 Beauty of Liberty Equality PP Austin Mural Print by Shepard Fairey x Sandra Chevrier x Jon Furlong. Shepard Fairey, Sandra Chevrier, and the Artistic Synergy in Urban Landscapes Street pop art and graffiti artwork are vibrant chronicles of contemporary culture, often encapsulating the socio-political zeitgeist within their vivid tableaux. The "Beauty of Liberty & Equality" mural in Austin, meticulously captured in print by Jon Furlong, is a commanding representation of this genre. This piece, a collaboration between Shepard Fairey and Sandra Chevrier, is a lithograph print that encapsulates the essence of pop art's interaction with urban landscapes. Initially crafted in the bustling milieu of Austin, the mural serves as a public art installation and a dialogue with its onlookers, beckoning them to reflect on the thematic elements of liberty and equality. Shepard Fairey, renowned for his "OBEY" campaign and his iconic Obama "HOPE" poster, brings his distinct stencil-based design and politically charged ethos to the piece. Sandra Chevrier, on the other hand, is celebrated for her "Cages" series, where she often depicts women's faces obscured by comic book imagery, exploring the "cages" society builds around individuals. The artwork size, at 18x24 inches, is substantial enough to command attention yet sized for intimate reflection. The "Beauty of Liberty & Equality" is marked as an Artist Proof (AP) 2020, signed by Fairey and Chevrier. This denotes a personal touch from the artists, a direct connection to the creators that is often sought after by collectors and fans of street art. Legacy and Collectibility of Limited Edition Street Pop Art Prints Street pop art, inherently linked with graffiti artwork, thrives on accessibility and public engagement. This mural print, conceived in this spirit, transforms an urban wall into a canvas that speaks to societal ideals and the ongoing quest for equality. It is this interplay between art and ideology, powerfully rendered by Fairey and Chevrier's distinct styles, that imbues the piece with its profound resonance. As a limited edition artwork on fine art paper, the "Beauty of Liberty & Equality" print is not only a piece of visual discourse but also an artifact of cultural significance. Limited editions often enhance the value of street art, which is, by nature, ephemeral. Through the medium of the offset lithograph, the transient becomes permanent, and the once fleeting moment of artistic expression is preserved for posterity. In the domain of street pop art and graffiti, this print stands as a testament to the enduring power of visual art to challenge, celebrate, and contemplate the grand ideals of liberty and equality. The collaboration between Shepard Fairey, Sandra Chevrier, and Jon Furlong in capturing and sharing this moment contributes a significant chapter to the narrative of contemporary street art.

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Sub-Standard Silkscreen Print by Shepard Fairey- OBEY Hand-Pulled 5-Color on Cream Speckletone Fine Art Paper Limited Edition Artwork Obey Pop Culture Artist. 2023 Signed & Numbered Limited Edition of 550 Artwork Size 12x24 Silkscreen Print "This print, “Sub-Standard,” is a comment on the relationship between corporate greed, fossil fuels, and the warming of the planet and collapsing ecosystems. Standard operating, pushed by players like Standard Oil and its many offshoots, should be redefined as sub-standard. If we want to maintain the standard of health our planet needs to avoid catastrophe, we can’t allow big oil to put profits before the planet and profits before people (as well as many other threatened species). Keep in mind that big oil, which is already very profitable, is subsidized by you, the taxpayer, for up to $50 billion per year. In contrast, renewable energy sources are subsidized for only a quarter of that amount. We need to push for change. A portion of proceeds from this print goes to Greenpeace USA‘s efforts to fight for a healthy planet.⁠" -Shepard Fairey- OBEY The silkscreen print titled "Sub-Standard" by Shepard Fairey, part of his OBEY series, is a compelling piece of contemporary art that casts a critical eye on the pressing issue of environmental degradation as it relates to corporate influence and fossil fuel dependency. Limited to a release of 550 signed and numbered editions, the artwork is a bold statement in both form and substance, pulling together the aesthetics of pop, street, and graffiti art onto a cream speckletone fine art paper. Measuring 12x24 inches, each hand-pulled 5-color print stands as a testament to Fairey's technical skill and his commitment to social commentary. Shepard Fairey, a prominent figure in the world of pop culture and street art, uses his medium to challenge the status quo and incite thought about pressing global issues. "Sub-Standard" specifically targets the consequences of the fossil fuel industry's actions on climate change and ecological destruction. Fairey's reference to Standard Oil and its successors points to a legacy of environmental policy that prioritizes profit over the planet's health, indicating a dire need for change in corporate practices. The artwork employs powerful symbolism, with the juxtaposition of an industrial motif against a backdrop that signifies the natural world in distress, reflecting Fairey's narrative about the conflict between economic interests and environmental stewardship. A significant aspect of this artwork is its activism component. A portion of the proceeds from "Sub-Standard" is directed towards Greenpeace USA, funding the organization's efforts to combat environmental harm and promote sustainability. This financial support aligns with the artwork's message, creating a direct link between art, activism, and tangible support for ecological well-being. Fairey's choice to highlight the discrepancy between subsidies for fossil fuels and renewable energy sources in his statement further amplifies the print's call to action, advocating for a reevaluation of where public funds are invested in the context of long-term planetary health. In the landscape of modern art, "Sub-Standard" by Shepard Fairey stands out as a piece that not only captures the aesthetic edge of the OBEY art movement but also embodies a deep social and environmental consciousness, driving the conversation forward in the realm of art activism.

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Ian Curtis Heart and Soul Silkscreen Print by Shepard Fairey- OBEY Hand-Pulled 3-Color on Cream Speckletone Fine Art Paper Limited Edition Artwork Obey Pop Culture Artist. 2023 Signed & Numbered Limited Edition of 500 Artwork Size 18x24 Silkscreen Print "I first discovered Joy Division through my friend Jay Haley in 1985-86. Jay was a little more open-minded than I was, so he was listening to aggressive punk and hardcore, but also, more moody music like The Smiths, The Cure, early Cult, and Joy Division. I initially liked some of Joy Division’s melodies, but I generally found the music a bit cold, sparse, and haunting on the verge of depressing. However, the music grew on me over time and the qualities I just described as liabilities became assets. As I grew out of my punk rock orthodoxy phase I realized no band sounded quite like Joy Division. My love of Joy Division has only grown over the years along with my appreciation for their imagery. Joy Division’s image of elegant austerity is often connected to their artwork by Peter Saville, but a lot of credit should go to Kevin Cumminsfor his noir portraits of the band. I’ve loved Cummin’s photography for years, so I was delighted when he agreed to collaborate on a portrait of Ian Curtis, Joy Division’s singer who took his own life in 1980 at 23. Curtis was a unique singer but also a powerful lyricist, so the lyrics to the song Heart and Soul are woven through the art along with an angular divide through Curtis’s figure symbolizing the tension between heart and soul. Since Kevin actually knew Ian, I appreciated that he would allow me to interpret his iconic photo!" -Shepard Fairey- OBEY Shepard Fairey's "Ian Curtis Heart and Soul" silkscreen print is a powerful tribute to the enigmatic Joy Division frontman and his profound impact on music and visual culture. Released in 2023, this limited edition print encapsulates Fairey's deep personal connection to Curtis and the band's enduring legacy. The artwork, sized at 18x24 inches and limited to a series of 500, is meticulously hand-pulled, showcasing three colors on cream speckletone fine art paper, underscoring the raw and textured essence of the subject matter. Fairey's engagement with Joy Division's work began in the mid-1980s, a time marked by a musical awakening as he transitioned from a strict punk perspective to a broader appreciation of the haunting, sad sounds that defined Joy Division's discography. Fairey candidly discusses how the initial perception of the music as 'cold and haunting' eventually morphed into an understanding of its depth and uniqueness, revealing a narrative of personal and artistic growth. Integral to this print is Fairey's collaboration with Kevin Cummins, a photographer renowned for his poignant portraits of Joy Division, which have significantly shaped the band's visual narrative. The decision to weave the lyrics of "Heart and Soul" into the fabric of the portrait is both a literal and figurative intertwining of Curtis's lyrical genius with his visual representation. This design choice also hints at the complexities of Curtis's personal struggles, echoed in the stark contrast that bisects his figure in the artwork—a poignant reminder of the internal discord between passion and reason, emotion and intellect. Fairey's print is not merely a visual piece but a narrative collage that pays homage to the artistic influence and legacy of Ian Curtis. By embedding the soul-stirring lyrics of "Heart and Soul" within the artwork, Fairey invites viewers to engage with the piece on multiple levels: aesthetically, emotionally, and intellectually. The print transcends mere representation, becoming a conduit for the artist's reverence for Curtis's talents as a singer and lyricist and the enduring impact of Joy Division on music and popular culture, ensuring that the heart and soul of Ian Curtis's artistry continue to resonate through time.

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Black Sabbath Silver Black Crescent Silkscreen Print by Shepard Fairey- OBEY Hand-Pulled on Cream Speckletone Fine Art Paper Limited Edition Artwork Obey Pop Culture Artist. 2013 Signed & Numbered Limited Edition of 125 Artwork Size 18x24 Silkscreen Print of Metal Roc n' Roll Music Band Black Sabbath Featuring Ozzy Osbourne. "Black Sabbath has been one of my favorite bands for 25 years. I was fortunate to meet Jack Osbourne through my friend Big Dave in 2000. My relationship with Jack and Big Dave has led to several great Ozzy and Sabbath projects. One of my biggest “I’m not worthy!” moments occurred when Dave took me backstage to meet the Sabbath guys in 2004 at Ozzfest, and bassist and lyricist Geezer Butler was wearing an Obey shirt! Sabbath is still a phenomenal live band, and I’m incredibly honored to do my second(the first was in 2005) Sabbath/Obey tour poster. Sabbath released a great new record called “13” recently(produced by Rick Rubin) and are touring in support of the album." -Shepard Fairey- OBEY. Shepard Fairey's Interpretation of Black Sabbath's Legacy In 2013, Fairey, inspired by Black Sabbath's influence on his life and art, created a limited edition silkscreen print to commemorate the band's U.S.A. tour. This signed and numbered edition, limited to 125 pieces and sized at 18x24 inches, became an emblem of Black Sabbath's enduring impact on rock music and a collectible piece of street pop art. The artwork, hand-pulled on cream speckletone fine art paper, features iconic Black Sabbath symbols, such as the cross and the winged disc, alongside Fairey's signature style, which often includes elements like the star and the stylized imagery of the eye. The fusion of street pop art with music often manifests in gig posters, a medium that Shepard Fairey, known widely for his OBEY brand, has mastered with a distinctive style that resonates deeply within the pop culture landscape. His work for the iconic metal rock n' roll music band Black Sabbath, particularly the silver and black crescent silkscreen print, encapsulates the essence of the artist's and the band's legacies. The significance of Fairey's Black Sabbath artwork lies in its ability to bridge music's auditory experience with art's visual stimulus. The print does not merely represent the band; it evokes the rebellious spirit of Black Sabbath's music, the dark and mystical themes they explore, and the cultural movement they spearheaded within the heavy metal genre. Fairey's artistic trademarks, such as the word 'obey,' infuses the piece with a sense of authority and provocation that complements the band's ethos. Collectibility and Influence in the Art World Fairey's anecdote about meeting the band and finding Geezer Butler wearing an OBEY shirt is a testament to the reciprocal influence between artist and musician. It underlines how street pop art and music often come full circle, with artists influencing musicians and vice versa. The print is a celebration of the band's return with the album "13" and a nod to the historical relationship between the artist and Black Sabbath. It is this narrative that imbues the artwork with a personal touch, making it a profound statement within the realms of both pop culture and street art. As a collectible, the Black Sabbath silkscreen print by Shepard Fairey stands at the intersection of music memorabilia and fine art. Its scarcity and the reputation of its creator heighten its value not only in monetary terms but also as a cultural artifact. Collectors and fans seek such pieces for their aesthetic appeal and their ability to capture a moment in history, a period where music and street pop art intertwine to create a tangible representation of a musical era. In the broader spectrum of street pop art and graffiti artwork, Shepard Fairey's Black Sabbath print represents the genre's potential to transcend the streets and enter into the world of high art and collector's items. The piece, with its intricate design work and deep cultural connections, stands as a testament to the power of visual art to celebrate and immortalize the spirit of music.

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Peace Fingers Collectible Cream Debosed Epoxy Resin Sculpture by Shepard Fairey- OBEY Limited Edition Modern Pop Graffiti Street Artwork. 2023 Embossed Stamped & Numbered Limited Edition of 500 Artwork Sculpture Size 8x12 Displayed with Custom Printed Box with Lid. Shepard Fairey's Influence on Modern Street Pop and Graffiti Art Shepard Fairey stands as a monumental figure in the intersection of street pop and graffiti art. His latest offering, the 'Peace Fingers Collectible Cream Debosed Epoxy Resin Sculpture,' cements his reputation as a pioneer who constantly pushes the boundaries of street-inspired artwork into the realm of collectible sculpture. Fairey, who gained global acclaim with his "OBEY" campaign, continues to influence the art world with pieces that resonate with graffiti's edgy vibrance and pop art's bold sensibility. The 'Peace Fingers' sculpture is a limited edition piece, with only 500 units available, each embossed, stamped, and uniquely numbered. The size of the artwork, measuring at an impactful 8x12, allows for a detailed exploration of the artist's vision. The sculpture comes encased in a custom-printed box, which is a testament to Fairey's attention to the presentation and packaging of his art. The box features a lid design that complements the sculpture, enhancing its value as a collectible item. The Artistic Merit and Symbolism of 'Peace Fingers' The 'Peace Fingers' sculpture is not merely a decorative item; it carries the weight of Fairey's social and political commentary. Crafted with debossed epoxy resin, the piece is tactile and visually compelling, with a texture that invites viewers to contemplate the craftsmanship. The design, featuring Fairey's signature style, incorporates elements of classic and modern symbolism, embodying a message of peace that is both timeless and urgent. This piece is more than an aesthetic achievement; it is a physical representation of the ideologies that Fairey has consistently presented throughout his career. The Collectible Nature and Investment Potential of Fairey's Work Collectors of modern street pop and graffiti artwork recognize the significance of owning a piece by Shepard Fairey. The scarcity of the 'Peace Fingers' sculpture amplifies its desirability, making it an artistic statement and a potential investment. Each sculpture's distinct stamped number denotes its place in the limited series, offering a unique identity to every piece. The combination of aesthetic appeal, cultural significance, and limited availability contributes to the sculpture's potential to be appreciated over time. Convergence of Street Pop Art and High-End Collectibles Shepard Fairey's 'Peace Fingers' is a prime example of how street pop art has transcended public spaces and infiltrated the high-end collectibles market. By moving street art from the brief to the permanent, Fairey challenges traditional notions of what graffiti artwork can be. This sculpture is an artifact of cultural dialogue, a tangible connection to the spirit of street art that collectors can own, display, and preserve. It blurs the lines between high art and street art, elevating the latter to a status that commands attention and respect in the art community and beyond. The Cultural Impact of Fairey's Street Pop Art and Graffiti Artwork The cultural impact of Fairey's work is profound, with his iconic designs becoming part of the visual lexicon of the 21st century. With its modern pop graffiti aesthetic, the Peace Fingers sculpture continues Fairey's exploration into themes of rebellion, empowerment, and social commentary. It serves as a physical reminder of the power of street pop art as a tool for change, a medium that can convey complex messages through accessible imagery. Fairey's ability to infuse his work with societal observations while maintaining a distinct visual style has solidified his place as a leader in the evolution of graffiti and street pop art.

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Riot Cop Large Format Silkscreen Print by Shepard Fairey- OBEY Hand-Pulled on Cream Speckletone Fine Art Paper Limited Edition Artwork Obey Pop Culture Artist. 2009 Signed by Shepard Fairey- OBEY & Numbered Limited Edition of 75 Large Format Artwork Size 29.25x40.5 Silkscreen Print 20 Year Retro Series. Faint Handling Creases. Shepard Fairey's OBEY: A Landmark in Street Pop Art and Graffiti Artwork Shepard Fairey's "Riot Cop" is a definitive piece that embodies the rebellious spirit and critical eye of street pop art and graffiti artwork. As part of the OBEY series, this large-format silkscreen print is more than a visual statement; it's a historical marker of the genre's evolution over two decades. Crafted with precision and care, the "Riot Cop" was hand-pulled in colors on cream Speckletone fine art paper, a medium that speaks to the quality and detail revered in fine art and the raw, unfiltered message often conveyed in street art. Released in 2009, each of the 75 editions of this large-format artwork, measuring 29.25x40.5 inches, was signed and numbered by Fairey. This gesture underscores the personal touch and authenticity valued in the world of art collectors. The artwork was reissued to mark the 20th anniversary of the OBEY project, which coincided with Shepard’s 20-year retrospective at the ICA Boston. This series, revisiting images from 1998 to 2000, showcases the artist's intention to refine previous works, substituting the iconic OBEY orange for metallic gold, lending the series an air of sophistication and timelessness. Impact and Contextual Significance of Fairey's Work The "Riot Cop" is more than an aesthetic creation; it's a commentary on authority, control, and the use of power. Fairey's work is deeply ingrained in the socio-political fabric of the times, often provoking thought on the mechanisms of society and governance. The prominent use of the word "OBEY" beneath the image of an authoritative figure wielding a baton is a direct call to the viewers to question the structures and rules that govern them. This challenge to the status quo is symbolic of the cultural force that street pop art and graffiti artwork have become, serving as an outlet for creativity and a powerful tool for social critique and activism. Shepard Fairey's journey from a skater kid with a sticker campaign to a celebrated artist with a globally recognized brand is a narrative that mirrors the ascension of street art into the mainstream consciousness. The "Riot Cop" is a testament to Fairey's growth as an artist, showcasing his skill in blending the aesthetics of street art with more profound political messages. The shift in the color palette in the anniversary series from orange to metallic gold signifies a physical transformation in the artwork. It represents a maturation of the OBEY message, which has evolved to maintain relevance in an ever-changing cultural landscape. Collectability and Legacy of the OBEY Series As a limited edition artwork, the "Riot Cop" occupies a unique space in the art market, appealing to street art enthusiasts and fine art collectors. The exclusivity of the piece and its social commentary have cemented its status as a highly desirable item. The legacy of Fairey's OBEY series is not limited to the collectors who own a piece of it; it extends to its influence on aspiring street artists and the dialogue it has inspired about the role of art in society. The series mainly works like the "Riot Cop," it continues to inspire a new generation of artists who see the urban landscape as a canvas for expressing their thoughts on contemporary issues. Shepard Fairey's "Riot Cop" from the OBEY series is a significant work that captures the essence of street pop art and graffiti artwork. It stands as a cultural artifact that encapsulates the ethos of a movement, the voice of an era, and the vision of an artist who has skillfully used silkscreen printing to challenge perceptions and invite introspection. Through his work, Fairey continues to demonstrate the power of art as a means of communication, a form of resistance, and a catalyst for change.

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Red & Cream Sedation in Bloom Silkscreen Print by Shepard Fairey- OBEY Hand-Pulled on Cream Speckletone Fine Art Paper Limited Edition Artwork Obey Pop Culture Artist. 2021 Signed by Shepard Fairey- OBEY & Numbered Limited Edition of 150 Artwork Size 18x24 Sedation in Bloom Silkscreen Print Series.  "I originally worked on this poppy pattern art as part of my collaboration with artist Gordon Cheung. In our piece, we addressed the tragic murder of Vincent Chin and the historical use of anti-Asian imagery and symbols in Western culture. The poppy is a beautiful flower with many symbolic interpretations, including peace, death, sleep, and sedation. I often weave floral and decorative patterns into my art to draw viewers in and make challenging concepts more digestible. However, decorative appeal can sedate people and distract them from more important social issues. Whether in entertainment, alcohol, drugs, or conspicuous consumption, I think sedation is a major cause of social and political complacency and ignorance. These Sedation In Bloom prints serve the dual purpose of a decorative escape and a reminder to stay awake and aware!" -Shepard Fairey- OBEY. Sedation in Bloom: A Convergence of Beauty and Consciousness in Street Pop Art Shepard Fairey, an American contemporary street artist, graphic designer, activist, illustrator, and founder of OBEY Clothing, has long been a defining figure in the street art movement. Born on February 15, 1970, in Charleston, South Carolina, Fairey's work emerged from the skateboarding scene and has since transcended the confines of street pop art and graffiti artwork to become a recognized global phenomenon. The Dual Nature of the Poppy in Fairey's Work Fairey's Sedation in Bloom series represents a nuanced intersection of aesthetics and socio-political commentary. The limited edition silkscreen prints, specifically the Red & Cream Sedation in Bloom, present an intricate poppy pattern against a cream speckle tone fine art paper. Each artwork in this edition of 150 pieces bears Fairey's signature, indicating authenticity and his personal touch. The dimensions of 18x24 inches offer a substantial canvas for the visual interplay of vibrant red against a serene cream backdrop, creating a captivating, visually striking, and symbolically rich contrast. The poppy, a central motif in this series, has many meanings. It is a flower associated with peace and death, and its narcotic properties connect it to sleep and sedation. Fairey manipulates the natural allure of the poppy to entice the viewer, employing its inherent beauty as a vessel for more profound reflection. The paradoxical use of the poppy in his artwork draws attention to the seductive qualities of the very things that lull society into a state of complacency – entertainment, alcohol, drugs, and materialism. Art as a Vehicle for Social Commentary and Awareness Fairey's collaboration with British-Chinese artist Gordon Cheung on this series underscores a shared commitment to addressing critical social issues. The poppy pattern, initially conceptualized for their joint piece tackling the tragic murder of Vincent Chin and the historical exploitation of anti-Asian sentiments, transcends its aesthetic value. It becomes a poignant commentary on how seductive imagery and symbols can be utilized to obscure and distract from pressing societal concerns. Fairey's art, notably this silkscreen print series, is not just a decorative artifact; it serves a dual purpose – to offer an escape and simultaneously to act as a wake-up call, urging viewers to remain conscious and engaged with the world around them. The Sedation in Bloom series exemplifies Fairey's philosophy that art should challenge the viewer, not just aesthetically but intellectually and morally. In the tradition of excellent street pop art, these pieces blur the boundaries between high and low culture, between art and activism. Fairey does not merely seek to beautify spaces with his work; he aims to provoke thought and inspire action. The decorative patterns and striking color contrasts are meticulously crafted to draw people in, only to confront them with the underlying message that beauty should not be a sedative but a stimulant for awareness and change. The enduring relevance of Fairey's work lies in its ability to navigate the complex dynamics of visual culture in a society saturated with imagery designed to sell, distract, and sedate. Fairey empowers the public to see beyond the surface and question the status quo by imbuing his street pop art and graffiti artwork with critical discourse. The Red & Cream Sedation in Bloom silkscreen print stands as a testament to the potential of street art to transcend the walls upon which it is placed and to foster a dialogue that extends into the social and political realms. In examining Fairey's contributions through the lens of his Sedation in Bloom series, one observes an artist deeply attuned to the power of imagery in shaping perceptions and behaviors. As an agent of change through visual language, Fairey's work encourages a vigilant and discerning gaze – a call to action for a society often too readily sedated by the opiate of the visually and materially appealing. It is through pieces like Sedation in Bloom that Fairey's voice resonates, imploring viewers to awaken from their slumber and engage with the pressing issues of our time.

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Don't Be a MFR AP Artist Proof Silkscreen Print by Shepard Fairey- OBEY Hand-Pulled 5-Color on Cream Speckletone Fine Art Paper Limited Edition Artwork Obey Pop Culture Artist. AP Artist Proof 2015 Signed by Shepard Fairey- OBEY & Numbered Limited Edition of 550 Artwork Size 18x24 Silkscreen Print. Don't Be A Mother Fucker. Don't Be A MOTHER#*X!! R Respect & Justice. The Provocative Appeal of 'Don't Be a MFR' by Shepard Fairey Shepard Fairey's 'Don't Be a MFR AP' is a bold exemplar in street pop art and graffiti artwork. Fairey, an American artist and provocateur born on February 15, 1970, continues to push the boundaries of art and activism. This particular work, part of an artist-proof (AP) series released in 2015, is characteristic of Fairey's approach to engaging with cultural and societal themes through his art. The hand-pulled 5-color silkscreen print on cream speckle tone paper echoes Fairey's distinctive aesthetic while carrying a strong message of respect and justice. Symbolism and Messaging in 'Don't Be a MFR' The artwork's title, 'Don't Be a MFR,' captures the eye with its intentional censoring, a tactic that allows for a broad interpretation and stirs curiosity. Within the limited edition series of 550, each piece sized at 18x24 inches, Fairey's work resonates with the power of command and the gravity of a public service announcement. The print is decorated with the words' Respect & Justice,' a direct call to action central to much of Fairey's oeuvre. Fairey employs symbols like the skull enveloped in a flower, a duality that speaks to the juxtaposition of life and death, growth and decay, reinforcing the message of the consequences of one's actions. The overall design is reminiscent of emblems and seals, often associated with authority and institutions, which Fairey repurposes to deliver his socio-political commentary. The choice of bold, angular graphics, in conjunction with the roundness of the emblematic seal, displays the tension between disruption and order, a recurrent theme in street pop art. Impact on Street Pop Art and Cultural Discourse The 'Don't Be a MFR' series exemplifies the potential of street pop art to serve as a medium for societal reflection and critique. The use of a public vernacular and the direct address to the viewer exemplify Fairey's commitment to making art accessible and demanding attention. Each print in the series, bearing Fairey's signature, is a testament to the belief that art should not shy away from controversy but rather confront and challenge the viewer. This piece, in particular, adds to the rich tapestry of graffiti artwork that has historically been used to communicate messages to a broad audience, often bypassing traditional media and institutional spaces. Fairey's work is a modern-day manifestation of this tradition, utilizing the urban canvas to prompt a public introspection on issues of respect and justice. The artwork serves not just as a visual spectacle but as a catalyst for conversation and, ideally, for action. Shepard Fairey and the Continuum of Artistic Activism Shepard Fairey's 'Don't Be a MFR' continues the artist's enduring legacy in art and activism. Residing in Los Angeles, California, Fairey remains a significant influence, harnessing the vibrancy of street pop art to voice his dissent and mobilize public sentiment. His work is anchored in the belief that art is a powerful change agent capable of inspiring individuals to think critically about the world around them. This particular silkscreen print carries the OBEY logo, an integral aspect of Fairey's brand, which doubles as a command and a critique of authoritarian tendencies. The artwork's appeal lies in its ability to be aggressive and reflective at once, pushing observers to consider their role in maintaining or disrupting social justice. Fairey's dedication to the intersection of art and societal issues solidifies his position as an artist and a significant cultural instigator in contemporary times.

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Cream & Blue Sedation in Bloom Silkscreen Print by Shepard Fairey- OBEY Hand-Pulled on Cream Speckletone Fine Art Paper Limited Edition Artwork Obey Pop Culture Artist. 2021 Signed by Shepard Fairey- OBEY & Numbered Limited Edition of 150 Artwork Size 18x24 Sedation in Bloom Silkscreen Print Series.  "I originally worked on this poppy pattern art as part of my collaboration with artist Gordon Cheung. In our piece, we addressed the tragic murder of Vincent Chin and the historical use of anti-Asian imagery and symbols in Western culture. The poppy is a beautiful flower with many symbolic interpretations, including peace, death, sleep, and sedation. I often weave floral and decorative patterns into my art to draw viewers in and make challenging concepts more digestible. However, decorative appeal can sedate people and distract them from more important social issues. Whether in entertainment, alcohol, drugs, or conspicuous consumption, I think sedation is a major cause of social and political complacency and ignorance. These Sedation In Bloom prints serve the dual purpose of a decorative escape and a reminder to stay awake and aware!" -Shepard Fairey- OBEY. Cream & Blue Sedation in Bloom: Reflecting on Society Through Street Pop Art The Cream & Blue Sedation in Bloom silkscreen print by Shepard Fairey, an iconic figure in the street pop art and graffiti artwork realm, stands as a thought-provoking piece that goes beyond mere aesthetic pleasure. Fairey, born as Frank Shepard Fairey on February 15, 1970, in Charleston, South Carolina, USA, has carved a niche for himself with works that often reflect a blend of political activism and artistry. This particular artwork, a part of the Sedation in Bloom series, is no exception. Hand-pulled on cream speckletone fine art paper, the Cream & Blue Sedation in Bloom is a limited edition artwork, with each piece signed and numbered by Fairey himself. The size of the artwork, 18x24 inches, offers a substantial canvas for the expression of intricate and symbolic imagery. Limited to an edition of 150, these prints capture the exclusive nature of Fairey's work. The Symbolism of Poppies in Fairey's Visual Language The motif of the poppy in this series carries rich symbolic interpretations, ranging from peace to death, and from sleep to sedation. Fairey's choice of the poppy is deliberate and multifaceted; it is not only about creating a pleasing visual but also about the underlying message it conveys. The interplay of the serene blue on cream reflects a tranquil aesthetic, yet the poppies' association with sedation challenges the viewer to look deeper into the societal implications of the artwork. Fairey’s work is a commentary on the complacency and ignorance that he perceives as pervasive in society. The seductive nature of entertainment, alcohol, drugs, and material excess serves as a means to sedate the masses, distracting them from social and political engagement. Through the Cream & Blue Sedation in Bloom print, Fairey juxtaposes the allure of the poppies with a call to consciousness, urging the viewer to stay awake and aware amid societal distractions. Artistic Collaboration and Social Commentary The inception of this poppy pattern art arose from Fairey's collaboration with Gordon Cheung, where the duo addressed the harrowing murder of Vincent Chin and the use of anti-Asian motifs in Western culture. By incorporating these themes into his street pop art, Fairey elevates the conversation from street-level discourse to a wider socio-political dialogue. The prints serve as a decorative escape, yet they double as a potent reminder of the importance of staying alert to the world's inequities and injustices. Shepard Fairey's Cream & Blue Sedation in Bloom is a striking example of how street pop art can be a powerful medium for social critique. As viewers engage with the harmonious color scheme and the delicate floral patterns, they are also confronted with the societal urge to remain vigilant. Through this series, Fairey reiterates his belief in the capacity of art to ignite change, to unsettle the comfortable, and to provoke a reawakening of social consciousness. The artwork symbolizes the dual role of art in modern culture: as an object of beauty and as a catalyst for awareness and action.

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In Honor of Vincent Jen Chin 4-Color Hand-Pulled Limited Edition Silkscreen Print on Fine Speckletone Art Paper by Shepard Fairey x Gordon Cheung Rare Street Art OBEY Pop Artwork Artist. Signed & Numbered Screen Print IN HONOR OF VINCENT JEN CHIN 18 inches by 24 inches Edition of 350 August 18, 2021 Minor Bumbs To Extreme LowerLeft Facing Side In this politicised pandemic crisis through which the previous leader of the most powerful nation in the world labelled coronavirus as China-Virus and its various forms, the consequences of racist blame has led to manifold increases in hate crimes against Asians. I hope this collaboration between Shepard and myself can raise awareness about the long history of anti-Asian hate and the important legacy of Vincent Chin whose untimely death in 1982 galvanised the people to demand Asian American civil rights. This current crucial moment in history calls for a gathering of momentum where Asian diaspora voices should go loud and proud. To stand together, advocate for change and collectively build bridges of understanding over glass ceilings and walls of hate. -Gordon Cheung

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Floral Takeover 2017 Cream Red Silkscreen Print by Shepard Fairey- OBEY Hand-Pulled 2-Color on Cream Speckletone Fine Art Paper Limited Edition Artwork Obey Pop Culture Artist. 2017 Signed & Numbered Limited Edition of 200 Artwork Size 18x24 Silkscreen Print "I'm always creating new patterns for my street installs and fine art pieces. I used to buy discontinued wallpaper, but now I design and print my own. These look nice as stand-alone prints, not just repeat patterns, so I'm releasing a 200-print edition of four versions. Buy a couch to match… coming soon… just kidding!" -Shepard Fairey- OBEY. The "Floral Takeover 2017 Cream Red Silkscreen Print" is a significant entry in the oeuvre of Shepard Fairey, an artist whose work is synonymous with the intersection of Street Pop Art and graffiti Artwork. This piece is part of a limited edition of 200, each signed and numbered, denoting its value as a collectible. With dimensions of 18x24 inches, the silkscreen print is substantial enough to make a statement on any wall it adorns. Fairey, with his characteristic OBEY brand, has long been a provocateur, blending commercial art techniques with street art's subversive edge, and this work is a clear example of that fusion. Fairey's approach to creating new patterns for street installations and fine art pieces harks back to his early days when he would use discontinued wallpaper as a backdrop for his work. The transition to designing and printing his patterns demonstrates a progression in his artistic control and the evolution of his signature style. The 'Floral Takeover series showcases the artist's ability to adapt elements traditionally associated with interior design and repurpose them within the context of street art and pop culture. By doing so, Fairey blurs the lines between art as a purely aesthetic commodity and its function as a commentary on societal norms. In this print, Fairey plays with a cream speckle tone fine art paper that gives the work a textured, organic feel, contrasting with the precise and deliberate two-color silkscreen technique. The choice of cream as the base color amplifies the boldness of the red floral pattern, allowing the design to leap off the paper with a vivacity that captures the viewer's eye. The juxtaposition of color and form symbolizes Fairey's work, where contrast often serves as a visual metaphor for broader cultural and political contrasts. Moreover, the 'Floral Takeover' print series reflects Fairey's humor and his recognition of the interplay between art and the commercial world, as hinted at in his playful suggestion to "buy a couch to match." This statement encapsulates the artist's awareness of the commodification of art in pop culture and his role within that process. Through works like this, Fairey continues to challenge perceptions of what street art can be, bridging the gap between graffiti's rebel spirit and gallery pieces' polished finish.

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