Shepard Fairey- OBEY

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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SF Fire Escape AP Artist Proof Silkscreen Print by Shepard Fairey- OBEY Hand-Pulled Color on Cream Speckletone Fine Art Paper Limited Edition Artwork Obey Pop Culture Artist. AP Artist Proof 2011 Signed by Shepard Fairey- OBEY & Marked AP Limited Edition Artwork Size 18x24 Silkscreen Print  SF Fire Escape AP by Shepard Fairey – Artist Proof Silkscreen Street Pop Art & Graffiti Artwork The SF Fire Escape AP Artist Proof silkscreen print by Shepard Fairey, produced in 2011, is a rare and impactful piece of Street Pop Art & Graffiti Artwork. This edition is signed by the artist and marked AP, denoting it as an Artist Proof distinct from the standard numbered run. The 18 by 24 inch screenprint was created on cream Speckletone fine art paper, a preferred medium for Fairey's hand-pulled works that allows for deep saturation and texture while maintaining archival integrity. Rendered in Fairey’s signature color palette of red, black, and off-white, this work reflects both his graphic design roots and his engagement with urban visual language. It presents a sharp architectural composition of a city scene featuring a fire escape, directional signage, and a familiar visage of the Obey Giant—an image that continues to serve as an anchor in Fairey's expansive catalog of visual resistance. Architectural Symbols and Urban Instruction This artwork immerses the viewer in the structured language of a city landscape, where fire escapes, windows, billboards, and building facades form a rigid system of navigation. The vertical and diagonal lines of the fire escape ladder and support beams fragment the space, giving a visual sense of entrapment or escape, depending on interpretation. A one-way sign reads no turns, emphasizing the illusion of freedom in a world filled with constraints. These directional cues play directly into Fairey’s critique of control mechanisms embedded in modern society. Through the use of screenprint layering and flat color fields, the artist isolates the experience of moving through controlled environments and highlights the architecture not as shelter but as signal. Obey Iconography as Watchful Presence The inclusion of the Obey Giant face within the window transforms an anonymous city structure into a subversive billboard. The face is not advertised but embedded, gazing from the inside out. It resists being consumed and instead looks back at the viewer. This silent presence underscores Shepard Fairey’s commentary on surveillance, authority, and cultural branding. Rather than remain outside of the built environment, his iconography has infiltrated the everyday, becoming part of the structure itself. As an Artist Proof, this particular print is a closer representation of Fairey’s intent, often reserved for personal use, exhibition circulation, or early release. It carries a stronger weight in terms of rarity and proximity to the original print development process. Screenprint Technique and Political Form Shepard Fairey’s silkscreen method is deeply connected to the legacy of protest poster art and graffiti stenciling. SF Fire Escape AP does not mimic graffiti—it elevates its ethos by repurposing urban symbols into controlled compositions on paper. Fairey’s repeated use of red and black signals urgency and authority, while the clean lines and grid-like layout suggest modernism stripped of comfort. The technique ensures precision while allowing for a handmade energy that reinforces its position within Street Pop Art & Graffiti Artwork. As an Artist Proof, it offers collectors and scholars insight into Fairey’s design refinement process, often with slight color or alignment differences that make each AP print unique. The work balances raw city experience with formal visual order, making it a compelling artifact of twenty-first century visual protest.  

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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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Florence Aubenas Silkscreen Print by Shepard Fairey- OBEY x Blek le Rat Hand-Pulled on Fine Art Paper Limited Edition Pop Street Art Artwork. 2008 Signed by Shepard Fairey & Blek le Rat, Numbered Limited Edition of 100 Artwork Size 18x24 Silkscreen Print Shepard Fairey x Blek le Rat Florence Aubenas Silkscreen Print 2008 The 2008 Florence Aubenas silkscreen print represents a rare collaboration between American street artist Shepard Fairey, known as OBEY, and French stencil pioneer Blek le Rat. Measuring 18 x 24 inches, this hand-pulled silkscreen was produced in a signed and numbered limited edition of only 100. Each print bears the signatures of both artists, cementing its importance as a cross-generational dialogue within Street Pop Art & Graffiti Artwork. The subject, French journalist Florence Aubenas, was abducted and held hostage in Iraq in 2005, making the work a powerful symbol of resilience and the role of art in amplifying human rights issues. Imagery and Symbolism The print merges Shepard Fairey’s graphic, politically charged style with Blek le Rat’s classic stencil approach. Set against the backdrop of Place Saint-Michel in Paris, the work integrates photography and stencil to create a layered street-inspired composition. Aubenas is portrayed standing calmly, her figure rendered in stark black stencil against the stone wall, evoking Blek le Rat’s street interventions. This contrasts with the detailed urban surroundings captured in Fairey’s silkscreen process, creating a tension between the permanence of historical architecture and the urgency of contemporary political struggle. The placement of the figure beneath the street sign grounds the work firmly in Paris, while also symbolizing the global reach of her story. Collaboration Between Icons Blek le Rat, born Xavier Prou in France in 1951, is regarded as one of the founders of stencil graffiti, influencing generations of street artists worldwide, including Banksy. Shepard Fairey, born in Charleston, South Carolina in 1970, rose to prominence through his OBEY campaign and politically charged works such as the Hope poster of Barack Obama. Their collaboration on Florence Aubenas brought together two distinct but complementary approaches: Blek’s commitment to the power of direct stencil imagery in public space and Fairey’s graphic design-driven activism. The result is a work that resonates both as a political statement and as a landmark in the history of street art. Political Resonance and Artistic Legacy This silkscreen print underscores how art can become a tool of awareness and advocacy. By immortalizing Florence Aubenas in their visual language, Fairey and Blek le Rat highlight the risks faced by journalists working in conflict zones and the importance of freedom of expression. With its limited edition size, dual signatures, and thematic depth, the Florence Aubenas print is considered a significant collector’s piece, not only for fans of Shepard Fairey and Blek le Rat but also for those who recognize the importance of socially engaged art. It remains a striking example of how Street Pop Art & Graffiti Artwork can transcend aesthetics to confront urgent political realities.

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Psychedelic Andre - Endless Summer Obey Giant Blotter Paper Limited Edition Archival Pigment Print Art on Perforated Blotter Paper by Shepard Fairey X John Van Hamersveld pop culture LSD artwork. "I first made this image in 1967, and then the poster came out in 1968. One day I sat down and started this drawing out of my style. I had been an art director at Capitol Records, and I hadn't been drawing very much. It was a whole new state I was in. But it was an opportunity to test my drawing and put it into a poster and have it published. It all came out great. It was a fantastic show. There were ads everywhere and people loved the poster. It just started to become a piece of history right away, much like The Endless Summer poster." - John Van Hamersveld "I became a fan of Hendrix after I exited my punk rock orthodoxy phase. I ended up gravitating towards John's image because it had that nod to psychedelia, without going so overboard in the baroque detail, that it remained iconic. This Hendrix image itself — along with a few other influences, like Barbara Kruger and Russian Constructivism — was a huge influence in how I was going to make work that had the ability to cut through the clutter of what's on the street and still have a recognizable style. When I was just making variations of the Andre on the different backgrounds, I was looking at a lot of psychedelic work, but John's piece really inspired me to make something that was a deviation from just playing it safe with the original Andre image. So John's Pinnacle Hendrix was sort of a gateway to the evolution of my entire Andre The Giant project. I can't really understate the importance of this image for me." - Shepard Fairey

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The Man Who Walks Through Walls AP Artist Proof Silkscreen Print by Shepard Fairey- OBEY x Blek le Rat Hand-Pulled on Fine Art Paper Limited Edition Pop Street Art Artwork. AP Artist Proof 2008 Signed by Shepard Fairey & Blek le Rat & Marked AP, Limited Edition Artwork Size 18x24 Silkscreen Print. Shepard Fairey x Blek le Rat The Man Who Walks Through Walls AP Silkscreen Print 2008 The 2008 The Man Who Walks Through Walls AP Artist Proof silkscreen print is a rare collaboration between Shepard Fairey, internationally recognized as OBEY, and stencil pioneer Blek le Rat. Hand-pulled on fine art paper and measuring 18 x 24 inches, this limited edition Artist Proof was signed by both artists and marked “AP,” distinguishing it from the standard numbered edition of 100. As an Artist Proof, it holds particular value among collectors of Street Pop Art & Graffiti Artwork, symbolizing both artistic experimentation and the direct approval of the creators. Imagery and Urban Context The composition combines stark stencil work with a heavily graffitied wall, embedding the artwork within the raw energy of urban life. At the center, a suited man carries bags labeled with text, positioned alongside a goat, while a police officer passes in the foreground. To the right, a telephone booth punctuates the scene, grounding the work in the everyday architecture of the city. The layering of graffiti tags, political scrawls, and the surreal juxtaposition of figures evoke themes of consumerism, authority, and rebellion. The suited figure in particular hints at urban alienation, while the presence of the goat and booth adds absurdity, making the composition at once humorous and sharply critical. Collaboration Between Shepard Fairey and Blek le Rat Blek le Rat, born Xavier Prou in 1951 in France, is widely credited as the father of stencil graffiti, bringing social commentary directly into the streets of Paris beginning in the 1980s. Shepard Fairey, born in 1970 in Charleston, South Carolina, built his reputation through his OBEY sticker campaign and politically engaged prints, including the Hope poster of Barack Obama. Their collaborative works, such as The Man Who Walks Through Walls, highlight a shared belief in the role of public art as a platform for protest and dialogue. The merging of Fairey’s graphic sensibilities with Blek’s direct stencil approach emphasizes the continuity between two generations of politically minded street artists. Rarity and Significance of the Artist Proof The Artist Proof edition carries special weight within the print world, typically produced in very small quantities and often retained by the artists. Signed by both Shepard Fairey and Blek le Rat and marked AP, this print holds heightened collectible value and authenticity. Beyond rarity, its imagery and collaborative nature underscore the strength of street art as a vehicle for political and cultural critique. The Man Who Walks Through Walls AP silkscreen print is not just a fine art object but also a vivid statement on urban culture, consumerism, and resistance, making it a defining example within the history of Street Pop Art & Graffiti Artwork.

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SF Fire Escape Silkscreen Print by Shepard Fairey- OBEY Hand-Pulled Color on Cream Speckletone Fine Art Paper Limited Edition Artwork Obey Pop Culture Artist. 2011 Signed by Shepard Fairey- OBEY & Numbered Limited Edition of 450 Artwork Size 18x24 Silkscreen Print  SF Fire Escape by Shepard Fairey - Street Pop Art & Graffiti Artwork in Urban Symbolism Shepard Fairey’s 2011 silkscreen print titled SF Fire Escape captures the architectural and cultural energy of San Francisco through the lens of Street Pop Art & Graffiti Artwork. Printed on cream Speckletone fine art paper in a signed and numbered edition of 450, this 18 by 24 inch hand-pulled silkscreen distills Fairey’s signature use of graphic contrast and political commentary into a dynamic composition of urban geometry. Utilizing his iconic red, black, and cream palette, the work presents a striking fire escape cutting across a modern building facade, marked with the bold face of Fairey’s now-famous Obey Giant icon peering through a window. The structure’s vertical lines intersect with diagonal staircases while an urban billboard pronounces no turns and one way, placing metaphorical emphasis on control, restriction, and the illusion of directional certainty. Architectural Linework and Urban Power Structures Fairey’s SF Fire Escape transforms mundane urban design into charged visual content. The fire escape, typically seen as a symbol of safety or last resort, becomes a jagged line of escape from conformity. Its stark white angles against the rigid grid of the building evoke urgency and possibility. The red and black panels lend a sense of urgency and institutional rigidity, while the silhouetted billboard adds a layer of societal direction or imposed path. Fairey’s placement of the Obey Giant face within the fire escape window interrupts the grid with an unexpected humanized symbol, referencing the artist’s ongoing critique of media saturation, surveillance, and systemic structures. It also acts as a quiet observer embedded in the architecture, watching yet contained. Screenprint as Political Medium in Street Pop Art Silkscreen printing has long served as Fairey’s chosen tool for reproducing messages quickly and accessibly. SF Fire Escape continues this legacy by maintaining the aesthetics of poster-making while functioning as a collectible art object. The choice of cream Speckletone paper, combined with bold silkscreened layers of ink, recalls the DIY ethos of flyposted propaganda art found throughout city streets. Fairey’s refined yet aggressive visual language harnesses the technique of repetition, limited color palette, and contrast to amplify urgency and power. This composition doesn’t merely portray an architectural moment but translates the city’s built environment into a metaphor for cultural lockdown and authoritarian cues masquerading as guidance. Embedded Iconography and Urban Resistance The Obey Giant face is not simply branding or ornament—it operates as a resistance symbol embedded in the built fabric of city life. By placing this face within the context of an urban fire escape, Fairey plays with the idea of surveillance, autonomy, and escape. His use of directional signage adds a layer of irony, questioning whether individuals in modern society are truly free to choose paths or simply navigating a framework of control. SF Fire Escape exemplifies Shepard Fairey’s ongoing role in reshaping contemporary Street Pop Art & Graffiti Artwork into socially reactive and politically charged print-based media, grounded in both the visual language of rebellion and the structure of the everyday.

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David with Machine Gun AP Artist Proof Silkscreen Print by Shepard Fairey- OBEY x Blek le Rat Hand-Pulled on Fine Art Paper Limited Edition Pop Street Art Artwork. AP Artist Proof 2008 Signed by Shepard Fairey & Blek le Rat & Marked AP, Limited Edition Artwork Size 18x24 Silkscreen Print. Shepard Fairey x Blek le Rat David with Machine Gun AP Silkscreen Print 2008 The David with Machine Gun AP Artist Proof silkscreen print from 2008 is a rare collaborative work created by Shepard Fairey, widely known as OBEY, and stencil art pioneer Blek le Rat. Hand-pulled on fine art paper and measuring 18 x 24 inches, this Artist Proof edition is signed by both artists and marked “AP,” distinguishing it from the standard numbered release of 100. Artist Proofs carry additional significance within the art world due to their limited availability and direct association with the artists’ approval process, making this piece especially sought after by collectors of Street Pop Art & Graffiti Artwork. Imagery and Symbolic Tension This print features Michelangelo’s classical David, a symbol of Renaissance ideals of beauty, youth, and heroism, reimagined with a modern twist: he holds a machine gun. The stark juxtaposition between timeless humanist ideals and contemporary instruments of war creates a powerful critique of violence and the ways cultural icons are repurposed to reflect current anxieties. Set against a graffiti-covered urban backdrop, the figure embodies the collision between high art traditions and street-level social commentary. The work challenges viewers to consider how ideals of strength and beauty are corrupted when reframed within the context of militarization. Collaboration Across Generations Blek le Rat, born Xavier Prou in France in 1951, is often credited as the father of stencil graffiti, influencing countless artists with his Paris-based interventions since the 1980s. Shepard Fairey, born in 1970 in Charleston, South Carolina, rose to prominence through his OBEY campaign and politically resonant prints, later achieving international acclaim with his Hope poster of Barack Obama. Their joint creation of David with Machine Gun demonstrates how two generations of artists from different cultural backgrounds can merge their practices to create a unified message. It serves as both homage to classical art and a critique of the modern world. Rarity and Collectible Importance Artist Proof editions such as this one are rarer than the main run, typically reserved for the artists themselves or for key collaborators. Marked “AP” and carrying the signatures of both Fairey and Blek le Rat, this print embodies both historical and artistic value. Beyond its scarcity, the work is a striking representation of how street artists reinterpret cultural symbols to confront pressing issues like war and societal decay. The David with Machine Gun AP silkscreen stands as a prime example of the fusion of fine art history and modern protest through the visual language of Street Pop Art & Graffiti Artwork.

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Protect The Blue Planet- Large Format Limited Edition Hand Pulled 2-Color Serigraph Print on 100% Cotton Coventry Rag Paper by Shepard Fairey Graffiti Street Artist Modern Pop Art. 2022 Signed & Numbered Hand Deckled 30 x 41 inches Serigraph on Coventry Rag, 100% cotton custom archival paper Hand-deckled edges Limited Edition of 75 Signed + Numbered Printed by Obey Giant "Protect The Blue Planet" stands as a testament to Shepard Fairey's dedication to using his art as a vehicle for environmental advocacy, fusing the worlds of pop art, street art, and graffiti art. This limited edition, hand-pulled 2-color serigraph, reveals the intricate relationship between humanity and our environment. Imprinted on 100% cotton Coventry Rag paper, the choice of material underpins Fairey’s commitment to sustainable artistry. The dimensionality of the piece, 30 x 41 inches, lends itself to an immersive viewing experience, accentuated further by its hand-deckled edges, which bring a tactile, organic touch, reminiscent of the raw edges of street posters. In partnering with the PangeaSeed Foundation to release this work for Earth Month, Fairey encapsulates the pressing environmental concerns of the modern era. Central to the piece is the depiction of an endangered North Atlantic right whale that exudes a mandala with the earth cradled within. This mandala, rooted in various cultural traditions, signifies harmony, unity, and the interconnectivity of the planet's ecosystems. The floral ornaments within it blossom as symbols of flourishing harmony, but the contrasting inclusion of flames starkly reminds viewers of the ever-looming threat of global warming. The text - "Protect the Blue Planet" and "One Ocean-One People" - along with the chosen blue palette, draws attention to the inextricable bond between thriving oceans and a sustainable world. As a renowned figure in the street art community, Fairey's work has always pushed boundaries, and with "Protect The Blue Planet", he once again blurs the lines between artistic expression, activism, and social responsibility, reminding the world of its role in safeguarding the planet. "To celebrate Earth Month, in collaboration with PangeaSeed Foundation, I’m pleased to release, “Protect The Blue Planet” which features an endangered North Atlantic right whale emanating a mandala with the earth as its focal point. In several cultures, the mandala represents harmony, unity, and wholeness, all of which are important concepts when considering the interconnected nature of the planet’s ecosystems, people, and species. The mandala features floral ornaments symbolizing harmony in bloom, but also flames as a reminder of the perils of global warming. The “Protect the Blue Planet” and “One Ocean-One People” text within the artwork and the blue color palette serve to emphasize the crucial connection between healthy oceans and a healthy planet." – Shepard

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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 Shepard Fairey Winter BreeAnne We The Future 2018 Silkscreen Print Shepard Fairey, born in the United States in 1970, continues to shape contemporary Street Pop Art & Graffiti Artwork through his politically driven portrait series and OBEY print releases. Winter BreeAnne We The Future, created in 2018, is a hand-pulled silkscreen print measuring 18 x 24 inches and issued in a signed and numbered limited edition of 450. Printed on cream Speckletone fine art paper, the work is part of Fairey’s We The Future campaign, which focused on civic engagement, representation, and the importance of participation in the democratic process. Portraiture and Civic Empowerment in Street Pop Art & Graffiti Artwork The composition features a stylized portrait of BreeAnne, depicted with a strong yet approachable expression and a raised fist that suggests solidarity and resolve. A button reading Future Voter appears on her jacket, reinforcing the message of youth political engagement. Below the portrait, the text We The Future and Power to the Polls anchors the image in a direct call to action. Fairey’s signature use of bold outlines, halftone textures, and a limited red, cream, and blue palette references vintage propaganda posters while remaining firmly rooted in modern Street Pop Art & Graffiti Artwork traditions. Limited Edition Silkscreen and Cultural Impact Hand-pulled with precise color layering, the print demonstrates the crisp registration and tonal depth characteristic of Fairey’s studio editions. The cream Speckletone paper adds a subtle texture that enhances the retro-inspired aesthetic. As a signed and numbered edition of 450, Winter BreeAnne We The Future represents both a collectible fine art print and a cultural statement about civic responsibility and generational voice. Through iconic graphic portraiture and accessible messaging, Shepard Fairey continues to demonstrate how Street Pop Art & Graffiti Artwork can serve as both visual art and a platform for social participation.

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Carga Fragile Mural 18-Color Lithograph Print by Shepard Fairey- OBEY Hand-Pulled Print on 270gsm BFK Rives Fine Art Paper Limited Edition Graffiti Street Pop Artwork. 2023 Signed & Numbered Limited Edition of 300 Artwork Size 40x28 Fine Art Large Format Lithograph "Carga Frágil" Mural in São Paulo, Brazil. This 18-color lithograph, measuring 40 by 28 inches, is printed on BFK Rives 270g paper featuring deckled edges. Created at the historic Idem Studio in Paris using a Marinoni press, it is based on an original illustration inspired by a photograph captured by Jon Furlong. The piece is signed by the artist, Shepard Fairey, and is a numbered edition limited to 300 prints. A portion of the proceeds will be donated to Greenpeace USA. Each print is accompanied by a digital certificate of authenticity provided by Versiart and features the Idem publishing chop in the lower left corner. The Idem Studio was established within a 15,000-square-foot, two-story workshop at 49 rue de Montparnasse. Originally built in 1881 by printer Eugene Dufrenoy, the workshop was designed to house his lithographic presses. In its early days, the facility relied on 19th-century flat machines powered by belt-driven propeller shafts and a steam boiler. The space was later occupied by the Michard Printing Company, which specialized in crafting vibrant, special edition maps. In 1976, Fernand Mourlot acquired the workshop and transformed it into a fine art printshop. Throughout its history, the workshop has seen a revival of lithography, with craftsmen collaborating closely with esteemed artists such as Pablo Picasso, Henri Matisse, Alberto Giacometti, Joan Miró, and Marc Chagall. Today, the printshop is dedicated to contemporary artists like Sophie Calle, JR, William Kentridge, David Lynch, Paul McCarthy, and Raymond Pettibon. Lithographs at Idem Studio are created by drawing an image on a flat stone or transferring it onto aluminum plates. The image is then treated with water and an oil-based ink that is rolled across the surface. Paper is placed atop the matrix and run through a press, transferring the ink onto the paper to form the final lithograph. The process results in a rich, dense layer of ink, producing an exceptional final piece. Now known as Idem, the Mourlot company stands as one of the oldest printing houses still utilizing traditional lithography techniques.

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Obey Conformity Trance- Red 2-Color Hand-Pulled Limited Edition Silkscreen Print on Cream Speckle Tone Paper by Shepard Fairey Rare Street Art OBEY Pop Artwork Artist. 18 inches by 24 inches Edition of 350 February 10, 2021 Obey as a pseudo-command in my art has always been a form of reverse psychology. My philosophy is actually “question everything”. Conformity is often more unconscious than conscious… an adaptation to structures we may not agree with and a submission to unseen forces of manipulation… unseen because our eyes and minds are not open wide enough. People come up with conspiracy theories like “the Illuminati” to explain the feelings that they are cogs in someone else’s machine, but the deconstruction of power and control requires nothing more than a conscious and diligent examination of how power and influence upon the government accumulate and concentrate under capitalism. Shepard Fairey

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Stealth Bomber Qee Black 8 in Sub Version One Vinyl Art Toy by Shepard Fairey- OBEY x Toy2RLimited Edition Collectible Sculpture Figure Fine Artwork by Graffiti Pop Street Artist. 2003 Limited Edition Artwork Size 6x8 Printed on Foot Vinyl Fine Art Toy Figure Sculpture. Displayed with Box. Shepard Fairey OBEY Stealth Bomber Qee Vinyl Art Toy The 2003 Stealth Bomber Qee by Shepard Fairey stands as a highly significant collectible in the evolution of designer vinyl art and graffiti-infused pop culture. Produced in collaboration with the influential Hong Kong-based toy label Toy2R, this Sub-Version One 8-inch vinyl figure is a limited-edition art toy that reflects the convergence of Street Pop Art & Graffiti Artwork with collectible design objects. The figure encapsulates Fairey's early 2000s aesthetic, where propaganda-style design met global street activism and urban visual language. Its minimalist color scheme of black and gray, along with bold red OBEY branding, makes it an unmistakable icon of Fairey's visual signature. With a sleek vinyl construction and the instantly recognizable stylized Andre the Giant–inspired face on its chest and packaging, the figure is both an artwork and a political statement. Design Collaboration and Toy2R Legacy Toy2R’s Qee platform has served as a canvas for many of the world’s top graffiti and pop artists, but the inclusion of Shepard Fairey brought a different cultural weight to the toy scene. The Stealth Bomber Qee is not just a toy; it’s a form of urban sculpture born out of an era when collectible vinyl became a new art format. The collaboration with Toy2R allowed Fairey to extend the influence of his street campaign beyond posters, walls, and wheatpastes into a durable three-dimensional object. Each piece from this edition features Fairey’s hallmark star logo on the back, a powerful graphic that has served as a recurring motif in his political and artistic work. It’s not merely decoration—it is a visual extension of the artist’s commentary on power, control, and social obedience. Street Pop Art Object and Collectible Sculpture This collectible stands 8 inches tall and comes boxed in original packaging branded with OBEY insignia and signature Fairey graphics. It functions both as a toy and as a sculptural artwork, representative of the hybrid culture that Street Pop Art & Graffiti Artwork has fostered. Each figure is printed with identifiers on the foot that clearly denote its place within the early designer toy movement: the bold OBEY logo, 2003 production stamp, and the Toy2R licensing mark. Its limited-edition nature and affiliation with a globally renowned artist have turned this piece into a rare artifact from a formative time in both the street art world and vinyl art toy production. Shepard Fairey’s Cultural Influence Shepard Fairey, born in the United States in 1970, is among the most impactful artists to emerge from street art into mainstream cultural critique. His work with the OBEY brand and the now-famous HOPE poster during the 2008 U.S. presidential election made him a household name, but it is his deep foundation in punk rock aesthetics, skate culture, and graffiti that truly shaped his style. The Stealth Bomber Qee is part of that lineage—an object that retains the DIY spirit and visual urgency of the street while being refined for display and collection. It remains one of the earliest examples of how street culture began to command the art world’s attention through limited-edition sculpture, merging accessibility and exclusivity in a single object.

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Only The Finest Poison Silkscreen Print by Shepard Fairey- OBEY Hand-Pulled on Speckletone Fine Art Paper Limited Edition Pop Street Art Artwork. 2023 Signed & Numbered Limited Edition of 550 Artwork Size 24x24 Silkscreen Print "This “Only the Finest Poison” print is a critique of the many methods the oil industries use to maintain business as usual, including deceptive marketing, bribing politicians, discrediting science, and concealing the truth. The news clipping included in the piece is a portion of an article revealing that ExxonMobile has known, based on their internal scientific research, for over 40 years that burning fossil fuels is warming the planet. Yet, they hid the research and publicly denied the impact of fossil fuels on climate change. It is challenging to break through the formidable layers of deterrence put in place by the powerful corporations who put profits before people and the planet, but breaking through is essential to a healthy future. A portion of proceeds from this print will benefit Greenpeace USA to support their work to fight climate change. Thanks for caring. The speckletone paper used in this print is composed of recycled material." -Shepard Fairey "Only the Finest Poison" is an exceptional work of art by Shepard Fairey, a renowned figure in the pop and street art scene. Released in 2023, this silkscreen print showcases Fairey's adeptness in merging provocative political commentary with visually compelling artistry. Limited to an edition of 550, each piece is hand-pulled on Speckletone Fine Art Paper, a unique medium composed of recycled material, further emphasizing the artist's commitment to environmental responsibility. The artwork stands as a stark critique of the global oil industry and its harmful practices. Fairey powerfully employs the use of imagery and text to shed light on the industry's egregious actions—distorting facts, undermining science, bribing political figures, and prioritizing profit over the planet's wellbeing. A crucial element of the piece is the inclusion of a news clipping, a snip from an exposé revealing ExxonMobile's long-concealed knowledge of the detrimental climate effects of burning fossil fuels. Fairey's print is an example of how art can serve as a powerful medium for social and political critique, calling viewers to contemplate the issues presented and challenging them to take action. Echoing the urgent need for change, Fairey's print not only criticizes the oil industry but also extends a helping hand towards environmental causes. A percentage of the proceeds from the sale of this print is donated to Greenpeace USA, an organization known for its relentless fight against climate change. This brilliant artwork, in its thematic exploration and socio-political impact, is a testament to Fairey's role as a critical commentator in the realm of street and pop art.

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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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Clementine AP Silkscreen Print by Shepard Fairey- OBEY Artist Proof Hand-Pulled Screen Print on Speckletone Fine Art Paper Limited Edition Pop Street Art Artwork. AP Artist Proof 2012 Signed & AP Marked Original Run Limited Edition Artwork Size 18x24 Silkscreen Print of Neil Young Music Influenced Woman Floating In Water Clementine AP Silkscreen Print by Shepard Fairey Clementine is a 2012 Artist Proof silkscreen print by Shepard Fairey, released as part of his ongoing exploration of music, emotion, and visual symbolism within Street Pop Art & Graffiti Artwork. This hand-pulled screen print was produced on speckletone fine art paper and marked AP, indicating its status as an Artist Proof from the original run. Signed by Shepard Fairey, the work measures 18 x 24 inches and exists outside the standard numbered edition, making it especially sought after by collectors. The composition depicts a woman floating horizontally in water, her body suspended between stillness and motion, evoking both serenity and vulnerability. The title Clementine references musical and lyrical influences often associated with Neil Young, whose themes of introspection and melancholy align closely with the tone of the image. Visual Atmosphere and Symbolic Elements The artwork is built around layered textures and earthy tones, with deep browns, blacks, and golds forming a dense, almost submerged environment beneath the figure. The waterline near the top of the composition creates a threshold between consciousness and surrender, while the woman’s outstretched arms and relaxed posture suggest a moment of release rather than distress. Subtle ornamental patterns and shadowed forms beneath her body add depth and complexity, hinting at unseen histories or emotional weight below the surface. Fairey’s use of contrast, both in color and negative space, reinforces the feeling of quiet tension, where beauty and unease coexist. The typography at the bottom anchors the image without overpowering it, allowing the scene to remain contemplative and open-ended. Music Influence and Place in Fairey’s Work Clementine fits squarely within Shepard Fairey’s body of work that draws inspiration from music as a vehicle for memory, mood, and social reflection. Much like his other Neil Young influenced pieces, this print prioritizes emotional resonance over overt political messaging, while still engaging with themes of fragility, endurance, and inner conflict. The floating figure can be read as a metaphor for navigating personal or cultural uncertainty, suspended between resistance and acceptance. As an Artist Proof, this edition carries added significance, reflecting Fairey’s direct involvement in the printing process and his commitment to craftsmanship. Clementine stands as a quieter, more introspective example of his Street Pop Art & Graffiti Artwork, demonstrating how restraint and atmosphere can be just as powerful as bold iconography.

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Psychedelic Andre- Pinnacle Blue Blotter Paper Limited Edition Archival Pigment Print Art on Perforated Blotter Paper by Shepard Fairey X John Van Hamersveld pop culture LSD artwork. "I first made this image in 1967, and then the poster came out in 1968. One day I sat down and started this drawing out of my style. I had been an art director at Capitol Records, and I hadn't been drawing very much. It was a whole new state I was in. But it was an opportunity to test my drawing and put it into a poster and have it published. It all came out great. It was a fantastic show. There were ads everywhere and people loved the poster. It just started to become a piece of history right away, much like The Endless Summer poster." - John Van Hamersveld "I became a fan of Hendrix after I exited my punk rock orthodoxy phase. I ended up gravitating towards John's image because it had that nod to psychedelia, without going so overboard in the baroque detail, that it remained iconic. This Hendrix image itself — along with a few other influences, like Barbara Kruger and Russian Constructivism — was a huge influence in how I was going to make work that had the ability to cut through the clutter of what's on the street and still have a recognizable style. When I was just making variations of the Andre on the different backgrounds, I was looking at a lot of psychedelic work, but John's piece really inspired me to make something that was a deviation from just playing it safe with the original Andre image. So John's Pinnacle Hendrix was sort of a gateway to the evolution of my entire Andre The Giant project. I can't really understate the importance of this image for me." - Shepard Fairey

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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 Interpol NYC Calling Silkscreen Print by Shepard Fairey The Interpol NYC Calling silkscreen print was created by Shepard Fairey (OBEY) in 2019 to commemorate Interpol’s performance at Madison Square Garden in New York City on February 16, 2019. Hand-pulled on white Speckletone fine art paper, the print measures 18 x 24 inches and was released as a signed and numbered limited edition of 550. Bold, graphic, and architecturally precise, the composition reflects both the band’s sharp, atmospheric sound and Fairey’s disciplined visual language rooted in propaganda-era design and modern street art. Visual Language, Geometry, and Sound Made Visible At the center of the composition stands a broadcast tower radiating concentric signal waves, visually translating music into transmission, reach, and resonance. The tower pierces a field of layered geometric forms, including concentric circles, angular blocks, and diagonal striping that create a sense of motion and tension. Fairey’s restrained palette of red, black, white, and teal reinforces the stark, nocturnal mood long associated with Interpol’s identity, while also nodding to Constructivist and Bauhaus influences. The symmetry and precision evoke control and clarity, yet the radiating signal suggests energy, volume, and emotional impact spreading outward from a single source. Context, Collaboration, and Collectibility This print holds particular significance within Shepard Fairey’s body of music-related work, as it reflects a relationship with Interpol that spans more than a decade. From early collaborations tied to Antics to later projects surrounding El Pintor, Fairey’s visual interpretations have consistently aligned with the band’s aesthetic sensibilities. Interpol NYC Calling functions not only as a concert poster, but as a standalone piece of Pop Street Art that bridges music culture and fine art printmaking. For collectors, it represents a convergence of cultural relevance, graphic strength, and historical continuity, capturing a specific moment in both Interpol’s career and Fairey’s ongoing dialogue with music, design, and urban culture.

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St Marks Horses Large Format Silkscreen Print by Shepard Fairey- OBEY Hand-Pulled 2-Color on 260gsm Modigliani Suede Fine Art Paper Limited Edition Pop Street Art Artwork. 2009 Signed & Numbered Limited Edition of 250 Artwork Size 32.3x26.8 Silkscreen Print In 2009, while attending the 53rd Venice Biennale, Shepard Fairey crafted a limited edition print titled "St. Mark's Horses." The creation of this piece took place during the artist's time in Venice. It was made in collaboration with SMS Venice, an organization dedicated to supporting the city's artistic and architectural heritage. This exclusive print consists of 250 editions, each individually signed and numbered by Fairey. Fairey's works are produced in limited edition series, and owning a signed and numbered print can be a valuable addition to any art collection. His unique style and powerful messages have made him one of his generation's most influential street artists. The St. Marks Horses print features Fairey's iconic style, incorporating propaganda, counterculture, and street art elements. The artwork is centered around the depiction of two horses with a St. Mark's reference, which is likely inspired by the Horses of Saint Mark or the Triumphal Quadriga, a set of Roman bronze statues of four horses that were once part of a monument erected in Constantinople and are now located in Venice, Italy.

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Fragile Cargo AP Silkscreen Print by Shepard Fairey- OBEY Artist Proof Hand-Pulled Screen Print on Fine Art Paper Limited Edition Pop Street Art Artwork. AP Artist Proof 2022 Signed & AP Marked Original Run Limited Edition Artwork Size 18x24 Silkscreen Print of Elephant & Woman Face With Stylized Vintage Airline Ticket Influence. "This OBEY Fragile Cargo poster is a fusion of a few inspirations. The elephant and my wife Amanda meditating relate to the Buddhist philosophy that humans are part of nature, not above it, and must live in harmony with nature. The phrase "Rise Above" references transcendence but is also one of my favorite Black Flag songs. The graphic elements also reference the aesthetics of travel tags and tickets, which present a dichotomy… travel is great for broadening cultural perspective, but it has a heavy carbon impact. Karma asks us to consider the benefits and consequences of our actions. All of my prints are printed on recycled or sustainable paper. A portion of the proceeds from this print will benefit Greenpeace to support their work to enhance environmental protections and combat climate change." -Shepard Fairey. Delving into pop and street art, the "Fragile Cargo AP" silkscreen print by renowned artist Shepard Fairey is a testament to the dynamic confluence of art, philosophy, and environmental consciousness. Hand-pulled and crafted meticulously on fine art paper, this limited edition artist proof from 2022 manifests an intricate fusion of inspiration sources. The composition, with its arresting visuals of an elephant juxtaposed with the serene face of Fairey's wife, Amanda, draws heavily from Buddhist philosophy. The art underscores the interdependence of humanity and nature, emphasizing the belief that humans do not preside over nature but are inherently a part of it. This intricate blend of artistic expression with philosophical musings is a hallmark of Fairey's work. The term "Rise Above," embedded within the artwork, serves a dual purpose. While it signals transcendence and aligns with the broader philosophical underpinnings of the print, it is also an homage to one of Fairey's favorite songs by Black Flag, a classic American punk rock band. Simultaneously, the design elements, reminiscent of travel tags and vintage airline tickets, invoke a reflection on the complexities of modern travel. The allure of travel, which offers an enriched cultural perspective, is weighed against its environmental impact, specifically the carbon footprint associated with it. Echoing this ecological consciousness, Fairey ensures all his prints are produced on recycled or sustainably sourced paper. Beyond this, a portion of the proceeds from the sale of "Fragile Cargo AP" is dedicated to Greenpeace, highlighting Fairey's commitment to supporting environmental causes and combating the dire challenges of climate change. Through this artwork, Shepard Fairey weaves an intricate tapestry of visual splendor, philosophical depth, and environmental advocacy, reaffirming his position as a luminary in pop and street art.

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War By Numbers VSE- OG Colorway Variable Stencil Edition Acrylic Artwork on Hand Deckled Fine Art Paper by Street Artists Shepard Fairey x Ernesto Yerena Montejano x Hecho Con Ganas x Obey. 2022 War By Numbers VSE- OG Colorway 20x26.5 inches. Signed & Numbered Ultra Rare Edition of 14. Variable Stencil Edition (VSE) on Paper. Signed by Shepard Fairey, Hecho Con Ganas publishing chop in the lower-left corner. "Created during the Iraq war, but the quest for peace requires perpetual vigilance, and the current invasion of Ukraine is a reminder of the brutality of war. The “War By Numbers” image is a statement about not becoming desensitized by war to the extent that it becomes as banal as a paint-by-numbers image. The “Peace Elephant” is an appeal to our sense of Karma and harmony with the world around us." - Shepard Fairey A profound intersection of artistry and activism emerges in "War By Numbers VSE- OG Colorway," an emblematic piece presented by the collaborative brilliance of Shepard Fairey, Ernesto Yerena Montejano, Hecho Con Ganas, and Obey. Showcased on meticulously hand-deckled fine art paper, this 20x26.5 inch artwork not only exemplifies the prowess of its creators but also delves deeply into the social and political fabric of contemporary global scenarios. Dated 2022, this piece holds the distinction of being an ultra-rare Variable Stencil Edition (VSE) on paper, with only 14 such editions in existence, each one thoughtfully signed and numbered. Notably, the presence of the Hecho Con Ganas publishing chop in the lower-left corner augments its authenticity and intrinsic value. While the artwork itself is a marvel of color interplay and design, its underlying message is both timeless and urgent. Shepard Fairey's own words elucidate the motivation behind its creation, highlighting its inception during the Iraq war. Yet, its resonance extends beyond that particular conflict. The piece emerges as an enduring reminder of the costs of warfare, particularly with the poignant backdrop of the recent Ukraine invasion. Fairey astutely draws attention to the dangers of becoming inured to the horrors of conflict, suggesting that society must never allow war's devastation to become as commonplace and mundane as a paint-by-numbers image. This sentiment is further emphasized by the inclusion of the "Peace Elephant," symbolizing the universal aspiration for harmony and an appeal to humanity's collective conscience. In the vast realm of pop art, street art, and graffiti, "War By Numbers" stands as a testament to art's ability to transcend aesthetic appeal, challenging viewers to confront and engage with the world's most pressing issues.

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Vota! Alto Al Fascismo Hand-Pulled 4-Color Silkscreen Print on Fine Art Paper by Artist Shepard Fairey Obey x Ernesto Yerena Montejano- Hecho Con Ganas Limited Edition Artwork. 2020 Signed by Both Artists & Numbered Limited Edition of 450 Artwork Size 18x24 “It’s an honor to once again collaborate with Shepard and NDLON (National Day Laborer Organizing Network) and release this new rendition of the We Are Human poster that we originally made over 10 years ago. This image is titled ‘Vote! Stop Fascism.’ The proceeds will go into printing more posters and also a massive sticker run to be given out in cities all across the country. Let’s ban together to Stop Fascism and make sure that we get Trump out of power! Thanks.” -Ernesto Yerena The realm of contemporary art has often been a platform for political expression, especially in genres like pop art, street art, and graffiti art. One striking example that stands out from recent times is the "Vota! Alto Al Fascismo" artwork, a hand-pulled 4-color silkscreen print on fine art paper. This piece is the brainchild of two phenomenal artists, Shepard Fairey of the Obey fame, and Ernesto Yerena Montejano from Hecho Con Ganas. Both artists are renowned for their bold stances and vibrant portrayals of socio-political issues, and this particular piece showcases their combined brilliance. Released in 2020, the artwork is not just a statement piece but a testament to the urgency and significance of the message it conveys. Limited to an edition of 450, each artwork is meticulously signed by both Shepard and Ernesto, indicating their personal commitment to the cause it represents. The dimensions of 18x24 make it a conspicuous piece, ensuring that the message is both seen and felt. Drawing inspiration from a decade-old "We Are Human" poster, this modern rendition emphasizes the importance of voting and the dire need to halt the rise of fascism. Ernesto's comment further illustrates the core motive behind this collaboration, shedding light on the broader aim of disseminating the message across cities nationwide through posters and stickers. Engaging, evocative, and ever-relevant, the "Vota! Alto Al Fascismo" artwork seamlessly blends the boundaries between art and activism. As pop art and street art evolve, such pieces remain a testament to their profound impact on society, urging viewers to take action and be part of a larger movement.

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They Live 2 Movie Hand-Pulled 2-Color Limited Edition Silkscreen Print on Fine Speckletone Art Paper by Artist Shepard Fairey x Mondo. 2011 Signed & Numbered Screen Print They Live 2, 2011 Screenprint in colors on speckled cream paper 24 x 18 inches (61 x 45.7 cm) (sheet) Ed. 500 Signed, numbered, and dated in pencil along the lower edge Published by Obey Giant, Los Angeles They Live Movie Screening Alamo Drafthouse Austin Texas June 9 2011. This Is Your God, Obey Your Dictator Minute bump to the lower-left corner.

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Demagogue 2-Color Hand-Pulled Limited Edition Silkscreen Print on Cream Speckle Tone Paper by Shepard Fairey Rare Street Art OBEY Pop Artwork Artist For Musician Franz Ferdinand. Signed & Numbered Screen Print 18 x 24 inches Edition of 500 October 18, 2016 I’ve been a big fan of the band Franz Ferdinand since they first hit the scene in 2003. Stylistically, Franz mixes a pinch of glam rock, a nice serving of post-punk and a bit of dance-punk to create a sound that is irresistibly infectious. The band is undeniably stylish in their fashion and their album artwork which is frequently inspired by Russian Constructivism, one of my biggest inspirations as well. The lyrics of singer Alex Kapranos are witty, charming, and often insightful about human nature. Franz Ferdinand is a band of style and substance. -Shepard Fairey

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Voting Rights- Large Format Limited Edition Hand Pulled 4-Color Serigraph Print on Varnished 100% Cotton Rag Archival Paper with hand-deckled edges by Shepard Fairey Graffiti Street Artist Modern Pop Art. 4-Color Serigraph on Varnished 100% Cotton Rag Archival Paper. 30 x 40 inches. Signed by Shepard Fairey. Numbered edition of 100. Jim Marshall's photograph of Fannie Lee Chaney captures the day she found out her son, James Chaney, and two of his friends died at the hands of the Ku Klux Klan for registering African Americans to vote.

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No Bees No Honey Color Hand-Pulled Limited Edition Silkscreen Print on Cream Speckle Tone Paper by Shepard Fairey Rare Street Art OBEY Pop Artwork Artist. 2022 Signed & Numbered Limited Edition of 325 Artwork Size 18x24 Gold Metallic Ink "The Clash are my all-time favorite band and their frontman, Joe Strummer, is a hero of mine for his music, lyrics, wit, compassion for the underdog, and stance against injustice. To celebrate the release of JOE STRUMMER 002 and in honor of Joe’s 70th birthday, a limited edition print inspired by the Joe Strummer and the Mescaleros song, JOHNNY APPLESEED. Joe’s lyric “If you’re after getting the honey, then you don’t go killing all the bees” applies to lots of things, like mistreating factory workers, but for me the idea that bees are pollinators who are crucial to sustaining Earth’s fragile eco-systems is a powerful idea. I hope to honor Joe’s music and extend his ideas with my No Bees No Honey print. A portion of proceeds will go to the Joe Strummer Foundation." -Shepard Fairey The intersection of street art, pop art, and graffiti has often found its voice through artists who transcend the confines of traditional media to bring forth powerful messages. One such eminent figure in this realm is Shepard Fairey, known widely for his iconic designs and thought-provoking artistry. His piece, "No Bees No Honey," is a color hand-pulled limited edition silkscreen print that stands as a testament to Fairey's artistic prowess and his ability to interweave poignant messages with his art. Created on cream speckle tone paper, the print embodies a vibrant play of colors and is accentuated by gold metallic ink that gives it a unique touch. The allure of this piece, however, isn't just its visual appeal but also its rarity. With only 325 signed and numbered pieces available, it stands as a collector's item and a beacon of Fairey's dedication to his craft. Sized at 18x24, the artwork captures attention with its intricate details and the symbolic imagery it presents. What elevates this piece from merely being a work of art to a profound statement is the backstory that inspired it. The artwork draws its essence from the legacy of Joe Strummer, frontman of "The Clash" and a stalwart figure revered by Fairey. Strummer's dedication to justice, his compassion for the marginalized, and his undying spirit resonate deeply with Fairey, making him a consistent source of inspiration. The inception of "No Bees No Honey" can be traced back to a song by Joe Strummer and the Mescaleros titled "JOHNNY APPLESEED." A line from this song, "If you’re after getting the honey, then you don’t go killing all the bees," serves as the driving philosophy behind Fairey's artwork. At a glance, this lyric speaks volumes about sustainability and the delicate balance of nature. By delving deeper, one recognizes its applicability to a myriad of societal issues, ranging from the exploitation of factory workers to the broader challenges faced by our ecosystem. The role of bees as indispensable pollinators, ensuring the continuation of life on Earth, is cleverly juxtaposed with Strummer's lyrics, creating an artwork that's as profound in its message as it is stunning in its design. Fairey's commitment to social causes and his admiration for Strummer converge in "No Bees No Honey," but they also manifest in tangible contributions. A part of the proceeds from this artwork is dedicated to the Joe Strummer Foundation, thereby furthering the cause and ensuring that art acts as a vehicle for positive change. In the world of contemporary art, pieces like "No Bees No Honey" remind us of the transformative power of creativity. Shepard Fairey's art is not just an aesthetic pleasure; it's a call to introspection, an invitation to ponder deeper societal issues, and a celebration of the indomitable spirit of figures like Joe Strummer.

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Idiocracy Limited Edition 4-Color Hand-Pulled Silkscreen Print on Fine Art Paper by Shepard Fairey, Graffiti Street Artist Modern Pop Art. 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 Shepard Fairey's "Idiocracy" limited edition print encapsulates the convergence of pop culture and social critique through the lens of contemporary art. Renowned for his subversive street art and graphic designs, Fairey extends his canvas to fine art paper in this 2016 artwork, limited to 550 signed and numbered pieces. The 18x24 silkscreen print features a four-color palette and is a tangible expression of Fairey’s dedication to using art as a medium for commentary on societal issues. Drawing inspiration from Mike Judge's satirical film "Idiocracy," Fairey's print is not only a visual tribute but also a critique of the film’s themes—depicting the troubling rise of anti-intellectualism and the cultural dismissal of enlightenment and sophistication. Fairey himself praises the film's use of humor to present its social criticism in a more palatable form, creating a space for reflection rather than alienation. His artwork captures the film’s ironic humor, using a brain under the guise of a vending machine product—emblematic of commodification and the oversimplification of complex ideas. This print, like many of Fairey’s works, is imbued with a sense of urgency and a call to awareness. It encapsulates the artist's view that the realms of art, humor, and entertainment can effectively intersect to deliver powerful messages about the current state of society. Fairey’s "Idiocracy" is not merely a piece to be admired for its aesthetic appeal, but a statement piece that encapsulates the pressing cultural narrative around the value of intelligence and the dangers of its rejection in public discourse. The visual elements of the print—the juxtaposition of a brain with a hand grenade, the stark and commanding typography, and the bold colors—are characteristic of Fairey's style. They are employed here not only to draw the eye but also to provoke thought, embodying the essence of graffiti and street art as tools for social engagement. In a culture increasingly leaning towards anti-intellectual sentiment, Fairey’s "Idiocracy" stands as a critical beacon in modern pop art, reminding viewers of the power of art as a reflective and transformative force.

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Barb Wire Dove Collage Silkscreen Print by Shepard Fairey- OBEY Hand-Pulled on Speckletone Fine Art Paper Limited Edition Pop Street Art Artwork. 2023 Signed & Numbered Limited Edition of 450 Artwork Size 18x24 Silkscreen Print Barb Wire Dove Collage Silkscreen Print by Shepard Fairey The Barb Wire Dove Collage is a 2023 hand-pulled silkscreen print by Shepard Fairey (OBEY), produced as a signed and numbered limited edition of 450. Printed at 18 x 24 inches on Speckletone fine art paper, the work exemplifies Fairey’s mature collage-driven style, where iconic symbols are reassembled into layered political statements. The dove, a recurring motif throughout Fairey’s career, is rendered in bold cream tones against a black circular field, immediately drawing the eye while anchoring the composition with visual clarity and symbolic weight. Symbolism, Pattern, and Political Tension At the center of the image, the dove clutches a strand of barbed wire rather than an olive branch, transforming a universal symbol of peace into one marked by restriction, conflict, and unresolved struggle. Surrounding it, Fairey builds a dense patchwork of patterns inspired by global decorative traditions, currency engravings, and protest-era graphic textures. The fractured red, gold, teal, and blue background feels both ornamental and confrontational, suggesting cultural richness colliding with violence and control. This tension between beauty and brutality is intentional, reinforcing Fairey’s long-standing critique of power structures that commodify peace while perpetuating conflict. The distressed overlays and visible “collage” seams give the work a street-poster immediacy, as if it were torn from walls layered with history and dissent. Significance Within Street Pop Art & Graffiti Artwork Within Street Pop Art & Graffiti Artwork, Barb Wire Dove Collage stands as a distilled example of Shepard Fairey’s activist ethos. It merges clean graphic iconography with complex political messaging, making the piece accessible at a glance yet rewarding deeper reading. The relatively large edition size reflects Fairey’s belief in democratic distribution of ideas rather than exclusivity, while the hand-pulled silkscreen process preserves the tactile authenticity valued by collectors. For those collecting OBEY works, this print sits comfortably alongside Fairey’s most recognizable peace and protest imagery, offering a visually striking reminder that peace is not passive, but contested, fragile, and worth defending.

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Friendship and Support 4-Color Hand-Pulled Limited Edition Silkscreen Print on Fine Speckletone Art Paper by Shepard Fairey Rare Street Art OBEY Pop Artwork Artist. 2011 Signed & Numbered Friendship and Support, 2011 Screenprint in colors on speckled cream paper 24 x 18 inches (61 x 45.7 cm) (sheet) Ed. 450 Signed, numbered, and dated in pencil along the lower edge Published by Obey Giant, Los Angeles. The Harrison Foundation! “Friendship and Support” supporting UNICEF! Today I am proud to honor the legacy of George Harrison and the very first major music concert for a cause “The Concert for Bangladesh”. Join me in supporting the great work of the George Harrison Fund for UNICEF and their work with the children affected by the famine in Africa. - Shepard Fairey

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Flower Diamond 2-Color Hand-Pulled Limited Edition Silkscreen Print on Fine Speckletone Art Paper by Shepard Fairey x Kai + Sunny Rare Street Art OBEY Pop Artwork Artist. 2021 Signed & Numbered by Shepard Fairey & Kai + Sunny Limited Edition of 450 Screen Print 'Flower Diamond' Artwork Size 18x24. Shepard Fairey x Kai + Sunny: Synthesis of Street Pop Art in 'Flower Diamond' The collaboration between Shepard Fairey and Kai + Sunny has birthed a masterpiece in the form of 'Flower Diamond,' a two-color hand-pulled limited edition silkscreen print that showcases the confluence of street pop art and graffiti artwork. Released in 2021, this piece is a signature representation of how the medium of street art can transcend the confines of urban spaces and find its place within the sophisticated realm of fine art galleries. Limited to a series of 450, the print is a testament to these artists' meticulous craftsmanship and creative synergies. Artistic Merit and Design of 'Flower Diamond' The 'Flower Diamond' stands out with its 18x24 artwork size, a dimension that allows the intricate details and the bold contrasts to be fully appreciated. The fine speckle tone art paper serves as a canvas that adds a subtle texture to the print, enhancing the visual depth of the artwork. Using two colors in the silkscreen process is a deliberate choice that showcases Fairey and Kai + Sunny's ability to create complex imagery through minimalistic means. The geometric precision and the central motif of the piece reflect a harmony between natural forms and structured design, a duality often explored in both pop art and street art. The significance of 'Flower Diamond' in the cultural landscape of street pop art cannot be overstated. Signed and numbered by Shepard Fairey and Kai + Sunny, the artwork becomes a piece of visual splendor and a collector's item that carries the weight of the artists' legacies. Fairey, known for his OBEY campaign and his public art and activism work, brings a certain gravitas and socio-political commentary to the collaboration. Meanwhile, Kai + Sunny adds their signature style of line work and natural motifs, creating an aesthetically pleasing and thought-provoking piece. A Union of Styles and Philosophies In 'Flower Diamond,' one finds a seamless union of styles and philosophies that characterizes the best street pop art and graffiti artwork. The limited edition nature of the print ensures that each piece is a slice of art history, encapsulating the meaningful collaboration between these renowned artists. It is a piece that captures the evolving narrative of street art, its potential for cooperation, and its place in the larger conversation of contemporary art. As collectors and enthusiasts seek to own a part of this narrative, 'Flower Diamond' stands as a beacon of what is possible when the rebellious spirit of street art meets the reflective poise of fine art.

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While Supplies Last Large Format Limited Edition Hand Pulled 4-Color Serigraph Print on Custom Cotton Coventry Rag Paper by Graffiti Street Artist Shepard Fairey. 2023 Signed & Numbered Limited Edition of 100 Artwork Size 45x26 Hand Deckled In the vibrant sphere of pop art, street art, and graffiti art, Shepard Fairey stands as a towering figure, renowned for his thought-provoking pieces that often transcend the canvas to make poignant societal statements. His creation, "While Supplies Last," is a testament to his artistic prowess and dedication to global causes. This large format artwork, meticulously crafted as a hand-pulled 4-color serigraph print, exemplifies the precise attention to detail and the depth of thought behind Fairey's creations. Crafted on custom cotton Coventry rag paper, the artwork exudes a tactile richness. The dimensions, 45x26, give the art piece a commanding presence, ensuring that its message is not just seen but felt. The edges, hand deckled, add to its authentic appeal. But what truly makes this piece resonate is its potent imagery: bold patterns, captivating floral motifs juxtaposed against a hauntingly beautiful face, and the unmistakable "WHILE SUPPLIES LAST!" emblem - all working in tandem to highlight the urgency of environmental concerns. Originating in 2023, the artwork's exclusivity is marked by its limited run of only 100 pieces, each of which is signed and numbered by Shepard Fairey himself. Adding to its authenticity, the Obey publishing chop is discreetly placed in the artwork's lower left corner. Importantly, Fairey's commitment to environmental conservation shines through, as proceeds from this masterpiece are dedicated to Greenpeace, ensuring that the art not only stirs the soul but also contributes tangibly to pressing global issues. In an era where art and activism intertwine, "While Supplies Last" stands as a beacon of hope and a call to action.

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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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Rollins Capitalism- Signed by Henry Rollins 2-Color Hand-Pulled Limited Edition Silkscreen Print on Fine Speckletone Art Paper by Shepard Fairey Rare Street Art OBEY Pop Artwork Artist. Signed by Henry Rollins, Signed & Numbered Screen Print ROLLINS CAPITALISM Screen Print 18 x 24 inches Edition of 1200 August 28, 2012 Henry Rollins has been a hero of mine since I got into Black Flag in 1984. Henry is a role model in his amazing taste and output in music, his political engagement, his monumental work ethic, and his social consciousness. Henry tours a ton and stays very aware of the world. Back before the 2008 recession started, Henry had an editorial segment on his TV show where he said “the president says the fundamentals of the economy are strong…I say start learning Chinese”. Henry’s new tour is called CAPITALISM and I’m sure he will have a lot of wise, funny, and maybe prophetic things to say. I was given the honor by Henry of illustrating his concept for the tour, him as a beaten-down Uncle Sam. I have a few of the prints available on my site signed by both me and Henry. The rest will be available on Henry’s tour which everyone should see. Pick a print up before the American brand of capitalism crumbles under the weight of its own ego. -Shepard Fairey Shepard Fairey Rollins Capitalism 2012 Screen Print Shepard Fairey, born Frank Shepard Fairey in the United States, created the Rollins Capitalism screen print in 2012 as a collaboration with Henry Rollins, the American musician, writer, and former Black Flag frontman who joined the band in 1981. This 18 x 24 inch two-color hand-pulled silkscreen print on fine Speckletone art paper was released in a signed and numbered edition of 1200 on August 28, 2012, with select examples signed by both Fairey and Rollins. The work was produced to coincide with Rollins’ Capitalism tour and reflects Fairey’s long-standing engagement with political messaging through Street Pop Art & Graffiti Artwork. Known for his disciplined graphic approach and activist-driven themes, Fairey used this collaboration to merge Rollins’ outspoken social commentary with his own iconic visual strategies rooted in poster culture and urban art traditions. Visual Symbolism and Political Commentary in Street Pop Art & Graffiti Artwork The composition reinterprets the historic Uncle Sam recruitment poster, replacing the traditional patriotic figure with a stylized portrait of Henry Rollins rendered in a limited red, cream, and dark blue palette. Rollins points directly outward in a confrontational gesture, echoing early twentieth-century propaganda design while shifting the tone toward critique rather than recruitment. The cracked dollar symbol on the chest and the bold CAPITALISM text at the bottom reinforce the print’s focus on economic instability and cultural strain in the years following the 2008 financial crisis. Fairey’s use of sharp contrasts, heavy linework, and simplified color blocking reflects the graphic clarity that defines much of his Street Pop Art & Graffiti Artwork, drawing from constructivist influences, punk aesthetics, and wheatpaste poster traditions that have shaped urban visual culture for decades. Cultural Significance of the Henry Rollins Collaboration Henry Rollins has long been recognized for his rigorous touring schedule, political engagement, and outspoken commentary on social and economic issues, and this print visually amplifies those attributes through the language of Street Pop Art & Graffiti Artwork. Fairey publicly expressed admiration for Rollins’ work ethic and social consciousness, noting that the image depicts Rollins as a worn and battle-tested Uncle Sam figure, symbolizing a critical examination of American capitalism rather than blind allegiance to it. As a signed and numbered limited edition, the Rollins Capitalism screen print holds importance not only as a collectible work but also as documentation of a moment when music, activism, and graphic art converged in a sharply focused political statement.

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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 Just a Minor Threat Silkscreen Print by Shepard Fairey The Just a Minor Threat silkscreen print is a 2023 collaboration between Shepard Fairey (OBEY) and legendary punk photographer Glen E. Friedman. Hand-pulled on cream Speckletone fine art paper, this 18 x 24 inch print was released as a signed and numbered limited edition of 550, bearing the signatures of both Fairey and Friedman. The work depicts the iconic Washington, D.C. hardcore punk band Minor Threat, fronted by Ian MacKaye, rendered through Fairey’s graphic lens and grounded in Friedman’s historic concert photography. Punk Energy, D.I.Y. Culture, and Visual Urgency The composition captures the raw intensity of a Minor Threat performance, placing Ian MacKaye front and center in a moment of confrontation and release, microphone clenched and voice projected outward. Surrounding band members and the tightly packed audience form a dense, kinetic backdrop that reinforces the communal force of hardcore shows. Fairey’s limited palette of black, white, and aggressive red heightens the sense of urgency and resistance, echoing the band’s uncompromising sound and message. The layered textures and high-contrast rendering preserve the grit of Friedman’s original imagery while translating it into a bold, poster-driven visual language rooted in punk flyers, protest graphics, and street art traditions. Legacy, Collaboration, and Cultural Impact This print celebrates more than a band; it honors the enduring influence of Minor Threat and the D.I.Y. ethos they helped define. For Fairey, Minor Threat and Dischord Records were formative forces that shaped his creative confidence, political awareness, and commitment to independent culture. Glen E. Friedman’s intimate access to the band provides an authenticity that elevates the collaboration beyond tribute into historical document. Just a Minor Threat stands as a convergence of music history, photography, and contemporary Pop Street Art, making it a highly significant collectible for fans of punk, Shepard Fairey’s OBEY body of work, and the broader legacy of underground culture that continues to inspire artists worldwide.

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Two Americas- Large Format Limited Edition Hand Pulled 4-Color Serigraph Print on Varnished 100% Cotton Rag Archival Paper with hand-deckled edges by Shepard Fairey Graffiti Street Artist Modern Pop Art. 4-Color Serigraph on Varnished 100% Cotton Rag Archival Paper. 30 x 40 inches. Signed by Shepard Fairey. Numbered edition of 100. Jim Marshall's photograph of a coal mining family in Hazard, Kentucky, taken while he lived with them, says a lot with what it shows, which is a mother and two children huddled together in support of each other, but it says just as much with what it lacks. There is a conspicuous absence of material necessities and a father. I don't know whether the father was working in a coal mine when the photograph was taken or had potentially died young because of the health risks of working under dangerous conditions, but it is clear that the family is struggling and lacking.

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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 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

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Geometric Dove Tile- Blue Dream Editions Series Limited Edition Archival Pigment Fine Art Print on Tile With Cork Base by Graffiti Street Art and Pop Culture Artist Shepard Fairey. Geometric Dove (Blue) Shepard Fairey Edition of /225 + 25 AP Digital print on a tile. Tile with cork base Laser signature and numbering 15 × 15 cm 5.9x5.9in 2021 "The Dream Editions series challenges invited artists to dig deep into their imagination to create pieces that they have always dreamt of, but never really got the chance to accomplish - until now. As an innovative and ground-breaking initiative will be pushing these abilities to the max, showing just how accomplished this industry has become. Over the years, Underdogs have developed countless limited editions and unique pieces, encompassing a wide variety of mediums, shapes, materials and processes." -Underdogs

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Another Day In the Coal Mine Large Format Limited Edition Hand Pulled 4-Color Serigraph Print on Custom Cotton Coventry Rag Paper by Graffiti Street Artist Shepard Fairey. 2023 Signed & Numbered Limited Edition of 100 Artwork Size 45x26 Hand Deckled Navigating the intersections of pop art, street art, and graffiti art, Shepard Fairey's "Another Day In the Coal Mine" emerges as an evocative piece that resonates deeply with contemporary themes and societal introspections. This large format artwork is a manifestation of Fairey's unparalleled skill, a hand-pulled 4-color serigraph print that captivates with its intricate design and vivid colors, all meticulously rendered on custom cotton Coventry rag paper. The composition presents a harmonious blend of patterns, ranging from the radiant sun-like designs to the serene floral motifs, juxtaposed against stark industrial imagery. The title, "Another Day In the Coal Mine," subtly hints at the labor-intensive, often unrewarding tasks that many endure in their daily lives. Yet, amidst this seemingly bleak narrative, the vibrant bird on the bottom right stands as a beacon of hope, a symbol of resilience and perseverance. Crafted in 2023, each of these limited pieces, measuring 45x26, has been hand deckled, adding an authentic touch to the artwork's overall aesthetic. With only 100 prints in circulation, each signed and numbered by Shepard Fairey, the exclusivity of the piece is undeniable. Embedded within its fabric is the unmistakable Obey publishing chop, discreetly positioned in the lower left corner. Beyond its visual appeal, the artwork carries a deeper purpose. Fairey, in his continuous commitment to environmental advocacy, pledges the proceeds from this piece to Greenpeace. As a testament to the power of art, "Another Day In the Coal Mine" not only engages viewers visually but also drives action for a more sustainable future.

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Know Your Rights- Large Format Limited Edition Hand Pulled 1-Color Serigraph Print on Varnished 100% Cotton Rag Archival Paper with hand-deckled edges by Shepard Fairey Graffiti Street Artist Modern Pop Art. 2014 Signed & Numbered Serigraph Artwork 42 x 42 inchesAugust 21, 201. 42 x 42 Large Format Serigraph.1 Color printed on Varnished 100% Cotton Rag Archival Paper. "Know Your Rights" is a commanding serigraph by Shepard Fairey, an artist who has cemented his place in the contemporary art scene through works that intertwine the ethos of street art with the aesthetic of modern pop art. This piece, released on August 21, 2014, is particularly noteworthy not only for its bold political message but also for the meticulous craftsmanship that goes into the production of each print. As an extensive format work, measuring an impressive 42 x 42 inches, it makes an indelible mark on the viewer, both through its scale and its strikingly stark one-color presentation on varnished 100% cotton rag archival paper, complete with hand-deckled edges. Shepard Fairey is renowned for blending fine art with the raw, in-your-face quality of street art and graffiti, and "Know Your Rights" is a prime example of this synthesis. The piece is anchored by a central image featuring an open book titled "THE FUTURE IS UNWRITTEN," encapsulating a message of empowerment and the potential for change. This is framed by laurels and a lit torch, evoking classic motifs that signify victory, knowledge, and enlightenment. The bordering texts "OBEY PROPAGANDA" and "KNOW YOUR RIGHTS" play into Fairey's recurring themes of propaganda, control, and the dissemination of information, urging the viewer to question authority and the narratives they are presented with. Each print in this limited edition is signed and numbered by Fairey, signifying its authenticity and connection to the artist's hand. The decision to use a one-color palette speaks to the work's assertive simplicity and Fairey's skill in using contrast and texture to convey depth and resonance. It's a technique that mirrors his street art roots, where messages must be given quickly and memorably. The serigraph process, a labor-intensive method of screen printing, ensures that each impression is of the highest quality, with the varnishing on the cotton rag paper adding a durable, tactile finish that also enhances the visual impact. "Know Your Rights" stands as a powerful statement in Fairey's oeuvre, reflecting his social and political advocacy rendered through his distinct pop art lens. This artwork resonates with the immediacy of street art and carries the weight of historical art traditions, bridging contemporary concerns with timeless expressions of resistance and hope.

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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. Floral Takeover 2017 Cream Red by Shepard Fairey Floral Takeover 2017 Cream Red is a hand-pulled silkscreen print by Shepard Fairey, released in 2017 as a signed and numbered limited edition of 200. Printed in two colors on cream Speckletone fine art paper, the artwork measures 18 x 24 inches. This version reverses the color balance of the companion print, placing red as the dominant field with cream floral forms layered throughout, creating a more saturated and commanding visual presence. Ornament as Occupation While rooted in decorative floral motifs reminiscent of wallpaper and textile design, Floral Takeover functions as more than ornamentation. Fairey uses repetition, scale, and bold contrast to turn pattern into visual force. The dense layering and assertive red ground echo his street practice, where imagery is used to claim space and attention. By presenting a repeat pattern as a standalone artwork, Fairey blurs the line between background design and foreground statement, transforming something traditionally passive into something confrontational and intentional. Context Within the OBEY Pattern Series This print is part of a four-version Floral Takeover series developed from patterns originally created for street installations and murals. Over time, these designs evolved into fine art editions that reflect Fairey’s interest in propaganda aesthetics, historical ornament, and visual saturation. The Cream Red variant stands out for its intensity and graphic clarity, offering a bolder counterpoint to the inverse colorway. Together, the series highlights Fairey’s ability to merge design, street art, and fine art into works that are visually elegant while still carrying the unmistakable authority of the OBEY aesthetic.

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Gun Culture- Large Format Limited Edition Hand Pulled 4-Color Serigraph Print on Varnished 100% Cotton Rag Archival Paper with hand-deckled edges by Shepard Fairey Graffiti Street Artist Modern Pop Art. 4-Color Serigraph on Varnished 100% Cotton Rag Archival Paper. 30 x 40 inches. Signed by Shepard Fairey. Numbered edition of 100. Jim Marshall captured what at first glance is regarded as an innocent child playing with a toy gun in Greenwich Village, New York, in 1963.

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Smokey Robinson- Red 3-Color Hand-Pulled Limited Edition Silkscreen Print on Cream Speckle Tone Paper by Shepard Fairey Rare Street Art OBEY Pop Artwork Artist. Signed by Fairey & legendary music artist Smokey Robinson. Screen Print 18 x 24 inches Edition of 450 2010 "I was amazed when Smokey contacted me to do a portrait to commemorate his 50 years in the music business, and a little nostalgic at the thought of his impact on me as a kid. Smokey came into the studio to hang out and sign them. He's a really nice, upbeat guy who has a real lust for life, maybe that's why he looks like he hasn't aged in 30 years. Believe it or not, Smokey signed every single print with his very beautiful and painstaking signature. It's worth picking up a print for that alone. Mention the name Smokey Robinson and the first thing that automatically comes to mind is Motown. It's understandable given that it was Robinson's hits, first as the leader of the Miracles, and then later as a solo artist that propelled the famed label during the 60s." -Shepard Fairey

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Psychedelic Andre- ‘92 Obey Giant Blotter Paper Limited Edition Archival Pigment Print Art on Perforated Blotter Paper by Shepard Fairey X John Van Hamersveld pop culture LSD artwork. "I first made this image in 1967, and then the poster came out in 1968. One day I sat down and started this drawing out of my style. I had been an art director at Capitol Records, and I hadn't been drawing very much. It was a whole new state I was in. But it was an opportunity to test my drawing and put it into a poster and have it published. It all came out great. It was a fantastic show. There were ads everywhere and people loved the poster. It just started to become a piece of history right away, much like The Endless Summer poster." - John Van Hamersveld "I became a fan of Hendrix after I exited my punk rock orthodoxy phase. I ended up gravitating towards John's image because it had that nod to psychedelia, without going so overboard in the baroque detail, that it remained iconic. This Hendrix image itself — along with a few other influences, like Barbara Kruger and Russian Constructivism — was a huge influence in how I was going to make work that had the ability to cut through the clutter of what's on the street and still have a recognizable style. When I was just making variations of the Andre on the different backgrounds, I was looking at a lot of psychedelic work, but John's piece really inspired me to make something that was a deviation from just playing it safe with the original Andre image. So John's Pinnacle Hendrix was sort of a gateway to the evolution of my entire Andre The Giant project. I can't really understate the importance of this image for me." - Shepard Fairey

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David with Machine Gun Silkscreen Print by Shepard Fairey- OBEY x Blek le Rat Hand-Pulled on Fine Art Paper Limited Edition Pop Street Art Artwork. 2008 Signed by Shepard Fairey & Blek le Rat, Numbered Limited Edition of 100 Artwork Size 18x24 Silkscreen Print Shepard Fairey x Blek le Rat David with Machine Gun Silkscreen Print 2008 The 2008 David with Machine Gun silkscreen print is a collaborative edition created by Shepard Fairey, known as OBEY, and French stencil art pioneer Blek le Rat. Hand-pulled on fine art paper and produced in a signed and numbered edition of 100, this 18 x 24 inch print merges the strengths of two iconic street artists across generations. Both signatures on each print elevate it to an important collector’s piece within Street Pop Art & Graffiti Artwork, highlighting not only a striking image but also the historical significance of the collaboration itself. Imagery and Commentary The print features a reinterpretation of Michelangelo’s classical sculpture David, here transformed into a provocative figure holding a machine gun. The juxtaposition of the Renaissance ideal of human beauty and form with the stark brutality of a modern weapon serves as a sharp critique of war, violence, and the distortion of cultural ideals. By placing David in a gritty, graffiti-covered urban environment, the work questions how art and society repurpose historic symbols to address contemporary anxieties. This powerful reimagining reflects both Blek le Rat’s tradition of stencil interventions in public spaces and Shepard Fairey’s skill at repurposing cultural icons into tools for social commentary. Collaborative Significance Blek le Rat, born Xavier Prou in France in 1951, is celebrated as one of the earliest and most influential stencil graffiti artists. Shepard Fairey, born in Charleston, South Carolina in 1970, became internationally known for his OBEY campaign and his later political works, including the Barack Obama Hope poster. Together, they bridge the early roots of European stencil art with the graphic and politically driven evolution of American street pop art. Their joint works, such as David with Machine Gun, serve as cultural dialogues between two eras, reinforcing the continuity of street art as a platform for protest and public discourse. Political Resonance and Collector Value David with Machine Gun functions as a visual protest, reworking an image of purity, youth, and beauty into a statement about the corruption of ideals through militarization and violence. The collaboration underscores both artists’ shared commitment to making politically engaged art accessible to broad audiences. With its limited edition of only 100, dual signatures, and thematic strength, the print has become a significant and sought-after work for collectors. It captures the way Street Pop Art & Graffiti Artwork can take familiar imagery and transform it into a searing critique of the modern world, cementing its role as both cultural artifact and fine art object.

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Off! You Will Do What We Say 2-Color Hand-Pulled Limited Edition Silkscreen Print on True White Speckle Tone Paper by Shepard Fairey Rare Street Art OBEY Pop Artwork Artist. 2019 Signed Limited Edition Print. 18 inches x 24 inches Edition of 600 July 11, 2019 Punk rock band OFF! which includes members from Black Flag, Circle Jerks, Redd Kross, The Burning Brides, and The Black Heart Procession is making a movie called “Watermelon,” and according to their lead singer Keith Morris, “You will do what we say”…… is an MK Ultra mantra from out of the shadows. - Shepard Fairey

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NØISE/SSI Resurrectionem Ex-Mortuis Remix 2-Color Hand-Pulled Limited Edition Silkscreen Print on Cream Speckle Tone Paper by Shepard Fairey Rare Street Art OBEY Pop Artwork Artist. 18 inches by 18 inches Edition of 400 March 30, 2021 About I have been friends with John Goff for 25 years. He was a fan of my art and used to generously help me print. We often bonded over music from the Melvins, to Kraftwerk, to RUN-DMC. John has been a musician most of his life, playing in several different music projects over the years, including SSI which is a collaboration between John and his brother Will. When I started DJ’ing John would help me with the production of remixes. Eventually, we started producing some music together, and with the valuable addition of Merritt Lear and Joe Cassidy, we formed Nøise. -Shepard Fairey

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Burn Baby Burn 2-Color Hand-Pulled Limited Edition Letterpress Print on Cream Speckle Tone Paper by Shepard Fairey Rare Street Art OBEY Pop Artwork Artist. 10 inches by 13 inches Edition of 450 February 2, 2021 About Burn Baby Burn, inspired by the aesthetics of “live fast – die young” rock ’n’ roll, is a critique of some harmful habits we are addicted to. Not just the harmful effects of burning fossil fuels, but also the dangerous psychology of denial and nihilism that underpins the apathy toward the planet’s future (and ours)! Whether it is the defiant greed of the fossil fuel corporations or the indifference of a public comfortable with status quo habits around fossil fuels, further delay in transitioning to renewable energy sources will be catastrophic for the planet and all of its species. I know that none of us like the idea of disrupting a comfortable habit.-Shepard Fairey

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Diamond Lotus- Red 2-Color Hand-Pulled Limited Edition Silkscreen Print on Cream Speckletone Paper by Shepard Fairey Rare Street Art Famous Pop Artwork Artist. Shepard Fairey (b. 1970) Diamond Lotus (Red), 2011 Screenprint in colors on speckled cream paper 24 x 18 inches (61 x 45.7 cm) (sheet) Ed. 360/400 Signed, numbered, and dated in pencil along lower edge Published by Obey Giant, Los Angeles

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