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Factory Stacks- Endless Power 6-Color Hand-Pulled Limited Edition Silkscreen Print on Fine Speckletone Art Paper by Shepard Fairey Rare Street Art OBEY Pop Artwork Artist. 2022 Signed by Shepard Fairey Numbered 18x24 inches. Screenprint on thick cream Speckletone paper. Numbered edition of 350. "These “Factory Stacks” images combine the austere, angular power of factory architecture with graphic elements commenting on what we promote and embrace as a society even when those things are destructive. The fossil fuel industries have tremendous power economically, but we now know that not only are fossil fuel sources finite but that using them is terrible for climate change and, therefore, the eco-systems that sustain life on our planet. Unfortunately, due to the political power of these industries and public apathy about climate change, the government subsidizes the fossil fuel industries for billions even as they damage the environment. The government works for the citizens, so the choice is ours. Do we support endless power for wealthy fossil fuel corporations? Or policies that put the earth first with the planet before profits? Please read Naomi Klein’s THIS CHANGES EVERYTHING to better understand the conflict between economic interests and climate change. A portion of the proceeds from the sale of this print will go to Greenpeace to fight climate change. Thanks for caring.” – Shepard Factory Stacks – Endless Power Silkscreen Print by Shepard Fairey Factory Stacks – Endless Power is a bold 6-color silkscreen print created in 2022 by Shepard Fairey, one of the most influential figures in Street Pop Art & Graffiti Artwork. Measuring 18x24 inches, this signed and numbered limited edition of 350 is printed on thick cream Speckletone paper and embodies Fairey’s hallmark aesthetic: a fusion of propaganda-style composition, socio-political messaging, and graphic design precision. It continues his Factory Stacks series, a visual campaign aimed at confronting environmental and systemic imbalances, particularly those surrounding the fossil fuel industry. Visual Language of Industrial Dominance This piece presents twin smokestacks emerging from a factory, exhaling thick plumes of smoke that bend into geometric arcs against a fractured backdrop. The composition is both imposing and elegant, rendered in Fairey’s signature palette of red, blue, cream, and black with accents of gold and grey. A section in the upper corner features graphic symbols such as currency and uniformed authority figures with the text “Endless Power,” visually connecting fossil fuel dependency to state and corporate control. Below, flames lick at the base of the structure, symbolizing destruction masked as progress. The stylized imagery and bold silhouettes evoke retro political posters, transforming the factory into an icon of unchecked industrial ambition. The title “Endless Power” is a biting irony. It speaks to the illusion of limitless energy consumption enabled by fossil fuels while referencing the political power structure that sustains this destructive system. Fairey uses the visual metaphor of pollution and fire not just as environmental warning signs, but as emblems of capitalism's refusal to pivot toward sustainability. Fine Art Printmaking as Street-Level Protest This edition is hand-pulled and silkscreened, showcasing Fairey’s technical prowess in layering crisp lines and vibrant color fields. The physicality of screenprinting—each layer applied with intention—parallels the artist’s belief in direct action. The Speckletone stock used adds texture and weight, reinforcing the piece’s physical presence and link to protest posters of the past. As a printmaker rooted in the street art tradition, Fairey embraces reproducibility without sacrificing uniqueness. His screenprints are both fine art artifacts and tools of mass communication. Factory Stacks – Endless Power does not rely on abstraction. It forces clarity, making its environmental critique visually immediate and emotionally provocative. Political Commentary Through Graffiti-Inspired Aesthetics Fairey’s work consistently straddles the space between fine art and graffiti, and this piece is no exception. By including symbols of nationalism, money, and smoke stacks, he aligns corporate power and environmental degradation in a single visual language. As part of the OBEY Giant campaign's broader ethos, the artwork invites viewers to question the legitimacy of authority, capitalism, and consumption. In the lower left of the piece, Fairey embeds the edition number and his signature, reinforcing its status as a collectible. Yet unlike conventional gallery art, this piece was made to communicate with the public. A portion of the proceeds from this release was donated to Greenpeace, underscoring the artist’s commitment to activism through art. Factory Stacks – Endless Power is not a lament—it is a visual demand. It reminds viewers that power, both political and industrial, is not endless unless people allow it to be. Through the bold format of Street Pop Art & Graffiti Artwork, Shepard Fairey transforms a grim industrial skyline into a battleground of ideas, urging action before the smoke becomes irreversible.

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Front End Loader Limited Edition 7-Color Hand-Pulled Silkscreen Print on Fine Art Paper by John Vogl Graffiti Street Artist Modern Pop Art. 18 x 24 inches. Seven screens on French Speckletone cover stock. Signed and numbered edition of 240. Released 25 November 2014.

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Warhol House Sunrise Silkscreen Print by Cash For Your Warhol Hand-Pulled 3-Color on 290gsm Coventry Rag Fine Art Paper Limited Edition Pop Street Art Artwork. 2021 Signed & Numbered Limited Edition of 40 Artwork Size 18x24 Silkscreen Print

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Gojira vs The Smoke Monster- AP Artist Proof Limited Edition 4-Color Hand-Pulled Silkscreen Print on 100lb Cougar Brand Natural Fine Art Paper by Pop Artist Tim Doyle. AP Artist Proof 2013 Signed & Marked AP Artwork Size 18x24 4-color hand-printed silkscreen print. Measures 18x24 inches and is signed by the artist. Printed on 100lb Cougar Brand Natural Fine Art Paper.

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Factory Stacks- Earth First 6-Color Hand-Pulled Limited Edition Silkscreen Print on Fine Speckletone Art Paper by Shepard Fairey Rare Street Art OBEY Pop Artwork Artist. 2022 Signed by Shepard Fairey Numbered 18x24 inches. Screenprint on thick cream Speckletone paper. Numbered edition of 350. "These “Factory Stacks” images combine the austere, angular power of factory architecture with graphic elements commenting on what we promote and embrace as a society even when those things are destructive. The fossil fuel industries have tremendous power economically, but we now know that not only are fossil fuel sources finite but that using them is terrible for climate change and, therefore, the eco-systems that sustain life on our planet. Unfortunately, due to the political power of these industries and public apathy about climate change, the government subsidizes the fossil fuel industries for billions even as they damage the environment. The government works for the citizens, so the choice is ours. Do we support endless power for wealthy fossil fuel corporations? Or policies that put the earth first with the planet before profits? Please read Naomi Klein’s THIS CHANGES EVERYTHING to better understand the conflict between economic interests and climate change. A portion of the proceeds from the sale of this print will go to Greenpeace to fight climate change. Thanks for caring.” – Shepard Factory Stacks – Earth First Silkscreen Print by Shepard Fairey Factory Stacks – Earth First is a powerful 6-color hand-pulled silkscreen print created in 2022 by renowned American artist Shepard Fairey. Measuring 18x24 inches and printed on thick cream Speckletone fine art paper, this signed and numbered limited edition of 350 pieces fuses the political energy of graffiti with the precision and control of modern screenprint design. The work is part of Fairey’s continued focus on environmental activism through art and contributes to the broader conversation around the role of industry, power, and public accountability in climate policy. Industrial Might as Graphic Metaphor The print features a factory with twin smokestacks emitting bold trails of smoke against a fragmented and stylized backdrop of red, yellow, and blue—colors associated with urgency, fire, and warning. The building looms large, rendered with clean vector lines and high-contrast forms, while geometric elements and cultural motifs hover in the background, including currency iconography, flames, and architectural symbolism. The stark visual contrast between the rigid industrial structures and the organic chaos of smoke and fire underscores the clash between mechanized progress and ecological fragility. This image serves as a critique of global dependence on fossil fuels and the prioritization of profit over environmental sustainability. Shepard Fairey is known for embedding meaning within tightly structured visuals, and here he uses the monumental scale of the smokestacks as a metaphor for entrenched systems of power. The print’s backdrop includes references to government currency and propaganda textures, further emphasizing the complicity of institutional economics in environmental destruction. Screenprinting as Political Craft Fairey’s technical skill in hand-pulled silkscreening is evident in the crisp linework, bold palette, and balanced layering of texture and flat color. The artwork’s speckletone paper enhances the handmade quality of the piece, giving it the presence of a protest poster while retaining the refinement of collectible street pop art. The 6-color process allows for vibrant layering and nuanced interplay of light and form, with the red and black palette lending a sense of urgency and confrontation. By combining the visual language of commercial design with fine art methods, Fairey continues his legacy of making politically charged works that are accessible, reproducible, and grounded in visual activism. This piece fits into his broader OBEY aesthetic, which draws from punk, graffiti, and socialist propaganda to awaken public dialogue. Art as Environmental Statement Factory Stacks – Earth First is not merely a visual statement; it is a functional activist tool. A portion of the proceeds from this edition was pledged to Greenpeace, supporting global campaigns to combat climate change. Fairey encourages viewers to reflect on systemic inertia, corporate greed, and the governmental failure to transition away from environmentally destructive practices. His recommendation of Naomi Klein’s book “This Changes Everything” provides further intellectual grounding for the print’s message, aligning the work with contemporary thought leaders in environmental justice. This silkscreen print exemplifies the power of Street Pop Art & Graffiti Artwork as both a form of protest and a call to action. By merging aesthetics with advocacy, Shepard Fairey transforms industrial imagery into a demand for ecological responsibility and human accountability.

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Big Twinkie Ghostbusters Silkscreen Print by Tim Doyle Hand-Pulled 8-Color Screen Print on Fine Art Paper Limited Edition Pop Street Art Artwork. 2015 Signed & Numbered Limited Edition of 150 Artwork Size18x24 Ghostbusters Movie Tribute, 4th Unreal Estate show

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Remnants 3-Color Hand-Pulled Limited Edition Silkscreen Print on Fine Art Paper by Justin Santora Rare Street Art Famous Pop Artwork Artist. AP Artist Proof Remnants AP Silkscreen Print by Justin Santora

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A Contemporary History of Chicago Printmaking HPM Signed Silkscreen by Chris Hefner 2-Color Screen Print on Fine Art Paper Limited Edition Pop Street Art Artwork. 2013 Signed & Numbered HPM Hand-Embellished Limited Edition of 48 Artwork Size 18x24 Signed By Hand In Person By Chicago Printmaker Artists: 1. Steve Walters (Screwball Press) 2. Bob Hartzell 3. Crosshair (Dan MacAdam) 4. Jay Ryan (The Bird Machine] 5. Dan Grzece 6. Mat Daly 7. Dan Black (Landland) 8. Erin Page Armstrong (Kill Hatsumomo) 9. Ethan D'Ercole 10. Josh Davis 11. Kathleen Judge 12 Lloyd Patterson Jr. 13. Zissou Tasseff Elenkoff (FugScreens Studios) 14. Delicious Design League (Billy Baumann & Jason Teagarden-Downs) 15. Johnny Sampson 16. Ryan Duggan 17. Sonnenzimmer (Nadine Nakanishi & Nick Butcher) 18. Kyle Baker 19. Justin Santora 20. Michael Lauriano 21. Nate Azark 22. Adam Hanson 23. Billy Craven 24. Chris Hefner 25. Andrew Ghrist A Contemporary History of Chicago Printmaking HPM Signed Silkscreen by Chris Hefner A Contemporary History of Chicago Printmaking is a striking 2-color screen print on fine art paper created by Chris Hefner in 2013. This limited edition print is an HPM-embellished work, with only 48 signed and numbered copies. The artwork measures 18x24 inches and serves as a historical visual record of the evolution of printmaking in Chicago. It features signatures from some of the most influential Chicago printmakers, including Steve Walters of Screwball Press, Jay Ryan of The Bird Machine, Dan MacAdam of Crosshair, and Zissou Tasseff Elenkoff of FugScreens Studios. The inclusion of these artists highlights the impact of Street Pop Art & Graffiti Artwork in shaping the printmaking landscape of Chicago. Visual Composition and Concept The print employs a structured timeline format, with bold red and blue ink creating a visually compelling piece that charts the progression of contemporary printmaking in Chicago. The design is both informational and artistic, making use of circular imagery to symbolize different milestones, artists, and studios that have contributed to the evolution of screen printing in the city. The typography and layout reflect influences from mid-century design aesthetics while maintaining an urban edge that aligns with the spirit of Street Pop Art & Graffiti Artwork. The organic branching structures within the composition evoke the interconnected nature of the printmaking community, illustrating how various artists and movements have influenced each other over time. Street Pop Art & Graffiti Artwork Influence Chicago has long been a hub for Street Pop Art & Graffiti Artwork, and this print acknowledges that history by featuring artists known for their work in screen printing, gig posters, and independent publishing. Many of the artists who signed this print have roots in underground art scenes, where screen printing has played a vital role in creating posters, street art, and commercial artwork that blends fine art with urban culture. The vibrant red and blue inks recall classic advertising and propaganda poster aesthetics, reinforcing the connection between printmaking and public art. The work of artists like Jay Ryan, Dan Grzeca, and Sonnenzimmer has left an undeniable mark on the scene, making this piece an essential artifact in understanding Chicago’s contribution to Street Pop Art & Graffiti Artwork. Significance of Hand-Signed Editions The print is signed in person by 25 artists, making it a rare collectible that bridges multiple generations of Chicago printmakers. The presence of signatures from influential figures in the industry adds to its historical and artistic value. Each signature represents an artist who has contributed to the expansion of screen printing as an art form, whether through gig posters, gallery prints, or street-inspired work. The handmade nature of screen printing ensures that each piece carries a unique quality, with subtle variations in ink application that make every print distinct. This work stands as both a piece of contemporary print history and a celebration of the artists who continue to push the boundaries of Street Pop Art & Graffiti Artwork in Chicago and beyond.

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Does She Look Down Limited Edition 3-Color Hand-Pulled Silkscreen Print on Speckled Cream Paper by Pop Artist Shepard Fairey. 2012 Signed & Numbered Limited Edition of 450 Artwork Size 18x24

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Green Power Factory Blue 3-Color Hand-Pulled Limited Edition Silkscreen Print on Cream Speckle Tone Paper by Shepard Fairey Rare Street Art OBEY Pop Artwork Artist. 2023 Signed & Numbered Limited Edition of 350 Artwork Size 18x24 "Green Power is a concept I’ve promoted in several pieces of my art. We need to transition to renewable sources of energy for the health of the planet. The fossil fuel industries have tremendous power economically, but we now know that not only are fossil fuel sources finite but that using them is terrible for climate change and, therefore, the eco-systems that sustain life on our planet. Unfortunately, due to the political power of these industries and public apathy about climate change, the government subsidizes the fossil fuel industries for billions even as they damage the environment. The government works for the citizens, so the choice is ours. Do we support endless power for wealthy fossil fuel corporations? Or policies that promote green power and put the earth first with the planet before profits? Please read Naomi Klein’s THIS CHANGES EVERYTHING to better understand the conflict between economic interests and climate change. A portion of the proceeds from the sale of this print will go to Greenpeace to fight climate change. Thanks for caring." -Shepard Fairey Shepard Fairey is an American contemporary street artist, graphic designer, activist, and founder of OBEY Clothing. He is known for his thought-provoking and socially-conscious artwork, often combining powerful imagery with provocative messages. The "Green Power Factory Blue Silkscreen Print" was created by Shepard Fairey and features his signature style and color scheme. It most likely represents themes of environmentalism, industry, and the need for sustainable energy solutions. The use of the OBEY logo in the title suggests that it may also convey an underlying message about recognizing and acting on these themes. As a silkscreen print, this artwork is created using a stencil-based printing technique where ink is forced through a mesh screen onto a surface. This method allows for producing multiple prints with a high level of detail and vivid colors. In the case of Fairey's work, the technique is particularly well-suited to his bold, graphic style.

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Get A Job HPM Silkscreen Stencil on Wood by Shepard Fairey- OBEY Hand-Painted Multiple Panel Ready to Hang Street Artist Modern Graffiti Pop Art. 2012 Signed & Numbered Edition of 6 HPM Silkscreen Stencil Print Artwork Size 18x24 on Wood Panel. Framed without glass. Framed Dimensions 25 X 19 Inches. Shepard Fairey Get A Job HPM Silkscreen Stencil on Wood 2012 The 2012 Get A Job hand-painted multiple by Shepard Fairey, the American artist behind the OBEY name, is a striking fusion of silkscreen stencil work and hand-applied detailing on a wood panel. Measuring 18 x 24 inches, this piece forms part of an extremely limited edition of only six, each signed and numbered by the artist. Known for his politically charged, socially conscious imagery, Fairey uses the visual language of propaganda posters to deliver a biting commentary on labor, authority, and societal expectations, here reframed through the lens of Street Pop Art & Graffiti Artwork. Propaganda-Inspired Composition The central figure in the artwork points directly outward, recalling iconic recruitment poster imagery, but the directive here is satirically altered to read “I Want You to Get a Job.” This layered messaging both mimics and critiques the authoritative tone of historic propaganda, drawing attention to the commodification of work and the pressures of productivity. The composition is infused with radiating golden rays against a dominant red background, with two strong, uniformed workers flanking the scene, reinforcing the militaristic aesthetic while heightening the visual impact. Technique and Materiality This work is not a standard print but a hand-painted multiple, meaning each panel is individually worked on by the artist, resulting in subtle variations across the edition. The use of wood as a base surface adds warmth, texture, and durability, contrasting with the crispness of the silkscreen stencil application. Fairey’s layering of paint and stencil work produces depth and complexity, with areas of intentional distress and imperfection that enhance the street-art authenticity. The absence of glass in the framing invites closer inspection of the texture and the tactile qualities of the wood grain beneath the paint. Shepard Fairey’s Cultural Commentary Born in 1970 in Charleston, South Carolina, Shepard Fairey emerged from the skateboarding scene with his OBEY sticker campaign before becoming a central figure in contemporary political street art. His works frequently challenge power structures, media influence, and consumer culture. In Get A Job, Fairey uses the aesthetics of socialist realism and wartime propaganda to deliver a layered critique of modern labor dynamics, while maintaining the bold graphic style that has made his work internationally recognizable. With its combination of rare edition size, mixed media execution, and socially pointed message, this piece is a powerful example of Fairey’s ability to merge visual seduction with political provocation in the sphere of Street Pop Art & Graffiti Artwork.

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LIE 2 Ben Bernanke Limited Edition 2-Color Hand-Pulled Silkscreen Print on Fine Art Paper by Aelhra Graffiti Street Artist Modern Pop Art. 2011 Signed & Numbered Limited Edition of 30 Artwork Size 18x24

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Oceanic Airlines 4-Color Silkscreen Print on Fine Art Paper by Pop Artist Nate Duval Limited Edition Artwork. 2014 Signed Limited Edition of 150 Artwork Size 18x24

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New Clear Power 3-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 350 Artwork Size 18x24 "New Clear Power, my first solo art show in Germany (@amuseum_Munich) addresses systems, forms, and notions of power that we must all carefully consider as we pursue our vision for an ideal personal and collective future. In my visual strategy, I choose colors, patterns, and icons that powerfully engage the viewer, and I write the text for my pieces using words that have the power of clear and concise communication. The concept of power is almost always present in my art. Forms of power addressed in the subject matter of New Clear Power include abuse of power, power concentrated under capitalism, renewable power, political power, the power of creativity, power over information, and the power of controlling narrative." -Shepard Fairey "New Clear Power Silkscreen Print" is a work of art by the renowned American street artist Shepard Fairey, also known by his moniker, OBEY. The "New Clear Power Silkscreen Print" is a limited edition artwork created with Fairey's signature silkscreen printing technique. Silkscreen printing, also known as screen printing, is a process that involves applying layers of ink through a mesh screen to create an image on various surfaces. Shepard Fairey frequently uses this method to create his distinctive, bold, and highly detailed artworks. Fairey's work often explores political and social themes, with powerful imagery and messages to provoke thought and discussion. The "New Clear Power Silkscreen Print" incorporates similar themes and is intended to raise awareness about a specific issue or idea. Since the title plays with the words "New Clear Power" (sounds like "Nuclear Power"), it may address topics such as the use of nuclear energy, its potential benefits, and its risks to society and the environment. The artwork probably features Fairey's recognizable style, which typically combines elements of graphic design, illustration, and street art. As with many of Fairey's limited edition prints, the "New Clear Power Silkscreen Print" is highly sought after by art collectors and fans of the artist's work.

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Guerilla One x The Seventh Letter Collaboration 3-Color Hand-Pulled Limited Edition Silkscreen Print on Fine Speckletone Art Paper by Shepard Fairey Rare Street Art OBEY Pop Artwork Artist. Signed & Numbered Screen Print 18 x 24 inches Edition of 450 March 5, 2009 OBEY, Guerilla One, and The Seventh Letter have always had a strong long-lasting friendship and creative relationship with numerous collaborations including the late 90’s Free GKAE print, created by Shepard and Casey Zoltan from The Seventh Letter, to raise funds for GKAE’s legal fees. This current project was created to symbolize both strength in numbers and unity by way of collaboration. The Seventh Letter, Obey Giant, and Guerilla One have all stood individually and collectively as pillars in the graffiti /street art scene both domestically and internationally. Its apparent that the 3 collaborators will continue to support street art by creating new platforms that encourage and inspire many worldwide. “When we started doing graffiti, putting up stickers we had no idea the places it would take us, and no matter where we go from here we will stay loyal to those who have helped us get there.” – Eddie Donaldson, Founder of Guerilla One “I have always rolled with G1 and Shepard through thick and thin and will always have their backs forever on a street and professional level”. – Casey EKLIPS Zoltan, Founder of THE SEVENTH LETTER

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Not By Victory Limited Edition Hand-Embellished Screen Print & Mixed Media on Cradled Wood Panel by Eddie Colla Graffiti Street Artist Modern Pop Art. Since 2005, his wheatpastes and stencils can be found throughout public spaces in the Bay Area, Los Angeles, and Miami. Eddie's work first began to garner national recognition when his street art began incorporating images of Barack Obama throughout the 2008 Presidential election. His growing popularity landed him attention on internet blogs, features in six published books, and participation in the "Manifest Hope Art Gallery" shows at the 2008 Democratic National Convention and at the Presidential Inauguration in Washington D.C. His designs have been transformed many times over, from stickers, album and magazine covers.

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Shell PP Printers Proof Limited Edition Archival Pigment Prints on 310gsm Fine Art Paper by Cey Adams Graffiti Street Artist Modern Pop Art. PP Printers Proof Signed & Marked PP Limited Edition Artwork Size 18x18 Shell Archival Print by Cey Adams "The whole idea behind my Trusted Brands series was that I wanted to revisit many of the iconic logos of my youth to reconnect to familiar things. These pieces are mostly made of handmade fiber papers from India and Nepal. I wanted to do something rivaling my friends who used spray paint and connected with my graffiti roots, but I didn't want to do what everybody else did. I thought it would be interesting to challenge myself to use a medium I have never used before, and collage spoke to me." - Cey Adams. Cey Adams' "Shell" - A Convergence of Branding and Art Cey Adams, a foundational figure in graffiti and street pop art, presents a compelling piece in his "Shell PP Printers Proof Limited Edition." This work is part of Adams' "Trusted Brands" series, where he revisits the emblematic logos that marked his youth. The print, an 18x18 archival pigment on fine art paper, showcases his exploration into collage, setting him apart from his contemporaries who favored spray paint. This piece is a Printer's Proof, signed and marked by Adams, adding a layer of exclusivity and collectibility. Adams' choice to use handmade fiber papers from India and Nepal lends an organic texture that contrasts with the commercial sharpness of the Shell logo. His work is a nod to nostalgia and a dialogue between past and present, consumerism and craftsmanship. The "Shell" piece stands out as a testament to Adams' ability to innovate within his graffiti roots while pushing the boundaries of his artistic expression. In Adams' own words, his college journey was challenging to escape the graffiti norm. His "Trusted Brands" series, including the "Shell" print, reflects this personal and artistic quest to connect with familiar symbols uniquely, embodying the essence of modern pop art within the urban landscape.

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Green Power Factory Red 3-Color Hand-Pulled Limited Edition Silkscreen Print on Cream Speckle Tone Paper by Shepard Fairey Rare Street Art OBEY Pop Artwork Artist. 2023 Signed & Numbered Limited Edition of 350 Artwork Size 18x24 "Green Power is a concept I’ve promoted in several pieces of my art. We need to transition to renewable sources of energy for the health of the planet. The fossil fuel industries have tremendous power economically, but we now know that not only are fossil fuel sources finite but that using them is terrible for climate change and, therefore, the eco-systems that sustain life on our planet. Unfortunately, due to the political power of these industries and public apathy about climate change, the government subsidizes the fossil fuel industries for billions even as they damage the environment. The government works for the citizens, so the choice is ours. Do we support endless power for wealthy fossil fuel corporations? Or policies that promote green power and put the earth first with the planet before profits? Please read Naomi Klein’s THIS CHANGES EVERYTHING to better understand the conflict between economic interests and climate change. A portion of the proceeds from the sale of this print will go to Greenpeace to fight climate change. Thanks for caring." -Shepard Fairey Shepard Fairey is an American contemporary street artist, graphic designer, activist, and founder of OBEY Clothing. He is known for his thought-provoking and socially-conscious artwork, often combining powerful imagery with provocative messages. The "Green Power Factory Red Silkscreen Print" was created by Shepard Fairey and features his signature style and color scheme. It most likely represents themes of environmentalism, industry, and the need for sustainable energy solutions. The use of the OBEY logo in the title suggests that it may also convey an underlying message about recognizing and acting on these themes. As a silkscreen print, this artwork is created using a stencil-based printing technique where ink is forced through a mesh screen onto a surface. This method allows for producing multiple prints with a high level of detail and vivid colors. In the case of Fairey's work, the technique is particularly well-suited to his bold, graphic style.

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Contra Cocaine Silkscreen & Glitter Print by Robert "Robbie" Conal Hand-Pulled on Fine Art Paper Limited Edition Artwork. 2010 Signed & Numbered Limited Edition of 100 Artwork Size 18x24 Silkscreen Print Robert "Robbie" Conal's Contra Cocaine: A Landmark in Street Pop Art & Graffiti Artwork The artwork "Contra Cocaine" by Robert "Robbie" Conal is a watershed moment in the history of street pop art and graffiti artwork. The 18x24 silkscreen print, with its haunting skull imagery set against a camouflaged backdrop, is not just a visual statement but a political cudgel wielded with artistic precision. This hand-pulled print on fine art paper, a limited edition of 100, represents Conal's unapologetic foray into street art, a domain he has since come to dominate. Educated at Stanford and a master painter, Robbie Conal is known for his unflinching, intensely detailed portraits, often depicting political figures in grotesque forms. His highly political and active work provides a scathing commentary on political corruption and misconduct. "Contra Cocaine" is perhaps his most notorious piece, a symbolic representation of the Iran/Contra scandal that plagued the Reagan administration. Its original iteration in 1988 has the distinction of being a part of the permanent collection at the Los Angeles County Museum of Art (LACMA), underscoring its cultural and historical significance. Contra Cocaine: The Intersection of Art and Political Activism Conal's "Contra Cocaine" transcends mere artistic endeavor; it encapsulates the artist's commitment to confronting and exposing the dark underbelly of political power structures. The piece is a grim commentary on the Iran/Contra affair, with the skull serving as a macabre symbol of the deadly consequences of political gamesmanship. Using street art's stark, compelling visual language, Conal's work becomes accessible and engaging, drawing the public into a conversation about the often invisible mechanisms of government wrongdoing. The distribution of "Contra Cocaine" through street posters in cities across the United States marked Conal's initial exploration into street art. This guerrilla postering, a form of grassroots activism, was designed to provoke public discourse and bring political commentary out of the galleries and into the streets. The image became synonymous with a generation's disillusionment and rage, channeling the spirit of protest into a singularly impactful piece of art. Legacy and Influence of Robbie Conal in Street Art Robbie Conal's influence on street pop art and graffiti artwork is profound. His commitment to marrying art with activism has inspired countless artists to view the urban landscape as a platform for social commentary and change. Plastering "Contra Cocaine" posters around the country was not just an artistic statement but a call to arms, engaging a volunteer "army" of supporters to disseminate the powerful image far and wide. Conal's method of engagement—activating a network of volunteers to distribute his posters—echoes the collective nature of street art, wherein the community plays a crucial role in the dissemination and reception of the work. The "army" that Conal mobilizes speaks to the collaborative spirit of the street art movement, blurring the lines between artist and audience, between individual creation and collective experience. Contra Cocaine: A Statement of Artistic and Historical Importance The historical context of "Contra Cocaine" amplifies its importance in the annals of street art. Published on the occasion of the exhibition "The Missing Link" at Country Club in 2010, the print also belongs to the Beautiful Losers Archive and Iconoclast Editions, collections that honor the works of artists who have shaped the landscape of contemporary art outside traditional systems. "Contra Cocaine" not only cements Robbie Conal's place in street art history but also stands as a testament to the power of visual art as a means of political resistance and societal reflection. As a piece of street pop art and graffiti artwork, it represents the genre's potential to influence public opinion and spark dialogues that transcend the visual medium, entering the realm of collective memory and historical documentation. The continued relevance of "Contra Cocaine" lies in its unabashed confrontation with political corruption and how art can expose and critique those in power. Through this work and his broader artistic oeuvre, Robbie Conal demonstrates the enduring role of the artist as a provocateur and a social commentator, wielding brushes and silkscreens as others might wield pens or protest signs. His legacy in street art is defined by his distinctive visual style and his unwavering commitment to activism through art.

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Money and Power- Black Hand-Pulled 1-Color Silkscreen Print on Hand Deckled 290gsm Arches Rag Paper by Artist Cleon Peterson Limited Edition Art Artwork. 2022 Signed & Numbered Limited Edition of 75 Artwork Size 18x18 "Money and Power have become primary drivers in the modern world, pushing us toward a corrupt society. The days when our leaders looked out for the people's interests have become a thing of the past—replaced by the strong man who squashes the voices of dissent to set things straight. Money elects leaders; in return, they owe a debt to the people that put them in Power—enacting our new public policy of greed and gangster capitalism. We slowly accept corruption, Law slowly fades away, and people begin to feel like democracy and a fair and equitable society were always just an illusion, a dream from the past that never really even existed." -Cleon Peterson Money and Power by Cleon Peterson – A Stark Allegory of Corruption in Street Pop Art & Graffiti Artwork Money and Power is a powerful black hand-pulled 1-color silkscreen print created by Cleon Peterson in 2022. Produced in a limited edition of just 75 signed and numbered pieces, this 18x18 inch artwork is printed on 290gsm Arches rag paper with hand-deckled edges, emphasizing its artisanal quality and rarity. The stark yellow figures and flag, laid over a deep black background, serve as a searing visual metaphor of political decay and societal control. With simplified, militaristic forms, Peterson’s composition marches forward in rigid formation, symbolizing a collective submission to authoritarian rule driven by capitalist greed. The central banner bearing a dollar sign encapsulates the theme in one potent glyph: money has become the new god, the flag under which societies now march. Cleon Peterson's Street Pop Art & Graffiti Artwork – A Violent Mirror of Power Structures Cleon Peterson, born in the United States in 1973, is known globally for his uncompromising and provocative style that merges elements of street art, pop iconography, and a graffiti aesthetic into biting social commentary. His work does not rely on subtlety but instead confronts the viewer with raw and unsettling imagery. In Money and Power, Peterson explores how capitalist motives have become indistinguishable from systems of governance. The faceless, weapon-wielding figures invoke totalitarian control, with each character's uniformity and march-step illustrating the erasure of individual thought and freedom. Peterson’s use of a single bold color evokes propaganda art, recalling wartime posters and dictatorial regimes, reinforcing the critique that today’s economic elites and political figures have blended into a single oppressive force. Money and Power as a Visual Manifesto Against Gangster Capitalism This piece stands as a visual thesis against what Peterson terms gangster capitalism. He expresses the idea that leaders are no longer elected to serve the public good but instead owe their power to financial interests. These interests then dictate policy, ensuring that the cycle of wealth consolidation and systemic inequality continues unchecked. In the artwork, the figures do not march for justice or liberty, but for power sustained by money. The gun in each figure's hand underscores how violence or the threat of it is now a normalized tool for maintaining order in this corrupt structure. As law and accountability fade, Peterson’s image becomes a grim prophecy, showing a society where control is absolute and voices of dissent are methodically extinguished. A Defining Work in Modern Political Street Pop Art & Graffiti Artwork Money and Power exemplifies the essential mission of street pop art and graffiti artwork: to challenge viewers, provoke thought, and expose uncomfortable truths. Peterson uses minimalist design to deliver a maximalist message—every line, posture, and symbol communicates urgency and danger. The limited nature of the piece and the labor-intensive silkscreen technique elevate its importance as a collectible while preserving the raw authenticity central to street and graffiti art origins. It operates not merely as a print but as a declaration—one that distills Peterson’s disdain for performative democracy and unregulated capitalism into a concise, unforgettable image. The work’s impact lies in its clarity and its refusal to soften the critique, marking it as a seminal moment in Peterson’s body of work and a critical reflection of our time.

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UTLA- Stand With LA Teachers 3-Color Hand-Pulled Limited Edition Silkscreen Print on Fine Art Paper by Ernesto Yerena Montejano (Hecho Con Ganas) Famous Mexican-American Pop Artwork Artist. 2019 Signed & Numbered Limited Edition of 300 Size 18x24 Embodying the spirit of advocacy and the essence of communal solidarity, Ernesto Yerena Montejano's "Stand With LA Teachers" emerges as a powerful example of art as a vessel for social message and cultural identity. This 2019 limited edition silkscreen print is a visual anthem created to support the Los Angeles teachers' fight for student rights, aptly produced under the artist's studio moniker Hecho Con Ganas. Each of the 300 signed and numbered prints, sized at 18x24 inches and pulled by hand, captures the enthusiasm of the United Teachers Los Angeles (UTLA) movement, celebrating educators' roles as pillars in the democratic framework. Yerena Montejano, widely recognized for his Mexican-American pop artwork, weaves together vibrant hues and bold graphic lines to craft a visage that is as evocative as it is iconic. This piece showcases a harmonious blend of reds, yellows, and teals—colors traditionally symbolizing passion, energy, and clarity. These colors leap from the fine art paper, igniting a sense of urgency and unity in support of the educational community. His style echoes the sentiments of classic pop art with a contemporary twist, making his work an intersection of fine art and street art. What sets this artwork apart in pop and graffiti art is its unmistakable purpose. It's not just an image but a declaration, a call to the public to recognize the crucial role that educators play in shaping the future. The striking image of a teacher in this print embodies the dedication and resilience of those in the profession. At the same time, the textual message “Community Schools Build Democracy” underscores the belief in education as a foundational element of societal progress. "Stand With LA Teachers" stands as more than a mere decorative piece; it's a historical timestamp and a socio-political tool that bridges the world of art with the concrete realities of educational activism. Montejano's work reverberates through the landscape of pop art, carrying with it the voices of educators and the strength of community-based advocacy.

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Money and Power- White Hand-Pulled 1-Color Silkscreen Print on Hand Deckled 290gsm Arches Rag Paper by Artist Cleon Peterson Limited Edition Art Artwork. 2022 Signed & Numbered Limited Edition of 75 Artwork Size 18x18 "Money and Power have become primary drivers in the modern world, pushing us toward a corrupt society. The days when our leaders looked out for the people's interests have become a thing of the past—replaced by the strong man who squashes the voices of dissent to set things straight. Money elects leaders; in return, they owe a debt to the people that put them in Power—enacting our new public policy of greed and gangster capitalism. We slowly accept corruption, Law slowly fades away, and people begin to feel like democracy and a fair and equitable society were always just an illusion, a dream from the past that never really even existed." -Cleon Peterson Money and Power by Cleon Peterson – White Edition of a Stark Political Allegory in Street Pop Art & Graffiti Artwork Money and Power by Cleon Peterson is a 2022 signed and numbered hand-pulled silkscreen print, produced in a limited edition of 75. Measuring 18x18 inches and printed in black ink on pristine white 290gsm Arches rag paper with hand-deckled edges, this piece delivers a powerful statement using minimalism to reveal the mechanics of authoritarian control and capitalist dominance. The design features three militarized figures marching in unison beneath a dollar-sign emblazoned banner. Each figure salutes with one hand while gripping a weapon in the other, marching in lockstep toward a future defined not by democracy or justice, but by obedience to power shaped through wealth. The precision of the stark black-on-white imagery reinforces the rigidity and dehumanization portrayed, highlighting the shift from collective governance to capitalist-driven authoritarianism. Cleon Peterson’s American Vision of Modern Power Structures Cleon Peterson, an American artist born in 1973, is renowned for his distinctive graphic style that merges the brutal directness of street art with a pop art sensibility. His works are not decorative—they are confrontational, morally urgent, and reflective of systemic violence. Money and Power exemplifies Peterson’s ability to distill complex socio-political realities into singular, unforgettable images. This white edition removes any distraction and allows the viewer to focus entirely on the content and message. The absence of color echoes the perceived erasure of nuance in modern governance, where decisions are no longer dictated by ethical considerations but by financial allegiance. Peterson uses his background in design and graffiti to strip down the message to its essence—those who control money control the message, the law, and the people. Symbolism of Marching Figures and the Banner of Capital The figures in Money and Power are reduced to symbols of conformity and control. With robotic movements and identical expressions, they act not as protectors of the public, but as agents of a system that prioritizes wealth preservation over civic duty. The gun in each hand is not just a weapon—it is a metaphor for the threat that sustains the hierarchy. The saluting gesture, typically a sign of honor or loyalty, is here rendered as a chilling submission to corrupt ideology. Above them, the banner with a dollar sign takes the place of national or moral symbols, declaring money as the new flag under which modern societies march. This image captures what Peterson describes as gangster capitalism—an economy and government fused into a singular corrupt force that erodes public agency and the very foundation of democracy. Money and Power as a Landmark of Street Pop Art & Graffiti Artwork This edition of Money and Power exists as both a work of fine art and a political poster, calling attention to the social decay born of greed and power consolidation. It stands firmly within the tradition of Street Pop Art & Graffiti Artwork, using accessible imagery to convey truths that are often ignored or downplayed in institutional settings. Peterson’s decision to limit the edition to 75 hand-pulled prints adds gravity to its message, making each piece a personal call to awareness and resistance. As street art evolved from rebellion to collectible, artists like Peterson have held firm to the medium’s roots—using public-facing visuals to voice dissent. This piece does not seek to comfort or beautify, but to warn. It captures a world where money no longer funds democracy but replaces it, revealing a cycle where power begets power and the people are simply marched along.

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Gattaca Metallic Ink Silkscreen Print by Justin Van Genderen Hand-Pulled on Fine Art Paper Limited Edition Screenprint Artwork. 2013 Signed & Numbered on Back Silver Metallic Ink Limited Edition of 50 Artwork Size 18x24 Location, Location, Location Series Silkscreen Print Hallway in Building Marin County Civic Center San Rafael CA From Gattaca. Gattaca Metallic Ink Silkscreen Print by Justin Van Genderen Gattaca Metallic Ink Silkscreen Print by Justin Van Genderen is a 2013 limited edition screenprint that captures the stark, futuristic aesthetic of the film Gattaca. Printed on fine art paper with silver metallic ink, this 18x24-inch artwork is a signed and numbered edition of 50. The design takes inspiration from the Marin County Civic Center in San Rafael, California, a location featured prominently in the movie. This piece blends the clean geometry of mid-century architecture with the surreal minimalism of Street Pop Art & Graffiti Artwork, creating an image that resonates with themes of destiny, control, and human ambition. Architectural Influence and Cinematic Minimalism The composition of this silkscreen print highlights the iconic curved hallway of the Marin County Civic Center, a Frank Lloyd Wright-designed structure that served as the perfect backdrop for Gattaca’s vision of a sterile, genetically engineered future. The artwork employs a minimalist palette dominated by deep blues and silver, reinforcing the film’s cold, calculated atmosphere. The curving forms of the hallway guide the viewer’s eye toward a distant rocket launch, an unmistakable reference to the film’s themes of space travel and aspiration. The human figure standing at the base of the composition is small, almost insignificant, emphasizing the tension between individual agency and systemic control. The use of perspective elongates the structure, making the architecture feel overwhelming, much like the deterministic society portrayed in the movie. This visual approach echoes the aesthetics of Street Pop Art & Graffiti Artwork, where stark contrasts and dynamic compositions create immediate impact. Use of Metallic Ink to Evoke a Futuristic Ambiance The incorporation of silver metallic ink into this silkscreen print enhances its futuristic quality. The reflective elements catch the light, mimicking the sleek, high-tech surfaces often associated with science fiction. This effect gives the artwork a dynamic presence, changing as it interacts with its surroundings. The contrast between the metallic ink and the deep, muted background colors creates a sense of depth and movement, making the print feel like a portal into the world of Gattaca. The choice of metallic ink also ties into the broader language of Street Pop Art & Graffiti Artwork, where materials and textures play a crucial role in creating immersive visuals. Much like graffiti artists use shimmering paints to catch the light on city walls, this silkscreen print uses metallic ink to enhance its otherworldly feel, ensuring that the piece stands out in any collection. Science Fiction and Street Pop Art & Graffiti Artwork Science fiction has long been a source of inspiration for street artists and pop art creators. The themes of surveillance, dystopia, and human resilience resonate deeply with the rebellious and thought-provoking nature of urban art. This print by Justin Van Genderen aligns with the tradition of using bold, cinematic imagery to explore larger societal questions. Many artists have drawn from Gattaca’s themes to comment on modern issues, from genetic engineering to corporate control. The film’s visual language—clean lines, sharp angles, and expansive, dehumanizing spaces—translates perfectly into the world of Street Pop Art & Graffiti Artwork, where structure and contrast are key elements. This print captures those themes while maintaining a timeless, aesthetic quality that can be appreciated both as a tribute to the film and as a standalone piece of modern art. Gattaca Metallic Ink Silkscreen Print is a stunning example of how film, architecture, and Street Pop Art & Graffiti Artwork can intersect. By distilling Gattaca’s visual and thematic essence into a single image, Justin Van Genderen has created a piece that speaks to both fans of the film and collectors of bold, thought-provoking art. Whether displayed in a modern home, gallery, or workspace, this print stands as a striking reminder of the human desire to break free from imposed limits and reach for something greater.

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Money and Power- Yellow Hand-Pulled 1-Color Silkscreen Print on Hand Deckled 290gsm Arches Rag Paper by Artist Cleon Peterson Limited Edition Art Artwork. 2022 Signed & Numbered Limited Edition of 75 Artwork Size 18x18 "Money and Power have become primary drivers in the modern world, pushing us toward a corrupt society. The days when our leaders looked out for the people's interests have become a thing of the past—replaced by the strong man who squashes the voices of dissent to set things straight. Money elects leaders; in return, they owe a debt to the people that put them in Power—enacting our new public policy of greed and gangster capitalism. We slowly accept corruption, Law slowly fades away, and people begin to feel like democracy and a fair and equitable society were always just an illusion, a dream from the past that never really even existed." -Cleon Peterson Money and Power by Cleon Peterson – Yellow Edition Silkscreen Print in Street Pop Art & Graffiti Artwork Money and Power by Cleon Peterson is a visually forceful hand-pulled 1-color silkscreen print produced in a striking yellow edition. Created in 2022 as a signed and numbered limited edition of only 75, this 18x18 inch artwork is printed on 290gsm Arches rag paper with hand-deckled edges, reinforcing its raw and crafted authenticity. Set against a saturated yellow background, the black silhouettes of uniformed figures march in unison beneath a banner marked with a dollar sign. This aggressive formation of faceless, weapon-bearing agents symbolizes how capital and authority have become intertwined forces shaping modern life. The contrast of black on yellow sharpens the urgency of the message, evoking caution signs and industrial warnings, reflecting the dangers of unchecked power. It is a bold statement, stark and deliberately unambiguous in its critique of political and economic systems. Cleon Peterson’s Visual Protest Against Gangster Capitalism American artist Cleon Peterson, born in 1973, has become known for creating art that exposes the mechanics of dominance, submission, and systemic violence. In Money and Power, Peterson addresses what he terms gangster capitalism—the merging of financial interest and authoritarianism. This yellow edition is not merely an aesthetic variation; it magnifies the intensity of the warning. The figures are rendered without individuality, acting not as civil servants or protectors but as enforcers of a corrupt economic order. Each character, with one hand saluting and the other gripping a firearm, marches without deviation under a banner where money is the emblem. Peterson’s use of militarized repetition critiques the dehumanization that occurs when loyalty is bought and dissent is extinguished by force. The visual simplicity masks a deeply complex message: society has drifted from democratic ideals into a structure where the value of life is weighed against the price of power. Symbolism and Execution in the Yellow Silkscreen Edition This edition’s choice of yellow background plays a crucial role in reinforcing the thematic content. Yellow, typically associated with visibility and warning, brings a harsh clarity to the disturbing unity of the figures. It forces the viewer to confront the image directly, without distraction or ambiguity. The hand-pulled technique and 1-color silkscreen process ensure that each print carries the physical presence of the artist’s vision, resisting digital detachment. Hand-deckled paper adds an organic imperfection that contrasts with the mechanical rigidity of the marchers, underscoring the tension between individual craftsmanship and institutional conformity. The entire composition operates as a visual manifesto, presenting a world where money is not simply a tool but a banner under which violence, obedience, and corruption are normalized. Money and Power as a Defining Work in Street Pop Art & Graffiti Artwork Money and Power belongs squarely in the tradition of Street Pop Art & Graffiti Artwork. It communicates political urgency through direct visual language, staying rooted in the protest origins of graffiti and the bold iconography of pop art. Peterson’s work challenges systems of authority by confronting viewers with uncomfortable truths, using art not for decoration but for disruption. This yellow edition distills contemporary disillusionment into one unforgettable image, showing how democracy erodes when capital becomes the highest power. As with all of Peterson’s most impactful works, it does not ask for quiet reflection—it demands awareness and accountability. It stands as a limited yet forceful artifact of protest, frozen in print but echoing across modern political consciousness.

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