Shepard Fairey (Obey Giant)Disinformation Damage (Cream), 2024Screen print on thick cream Speckletone paper24 x 12 inEdition of 275
Hand Signed & Numbered by the artist. Accompanied by Digital Certificate of Authenticity provided by Verisart.
FROM SHEPARD FAIREYThis Disinformation Damage print is a comment on the corrosive effect of social media on politics. Politicians have always taken liberties with the truth, but credible news outlets would correct lies and hold politicians accountable to the truth before social media. On the other hand, social media allows users to parrot lies politicians tell and perpetuate those lies at lightning speed. The tactic of spreading lies through social media so quickly that credible journalists can’t keep up and correct the record has been used consistently by the right. Whatever lies are told will be parroted by a politician’s followers, who will also try to drown out any attempt to shed light on the truth. The only antidote to this chaos is for citizens to fact-check what they see and support credible journalism. Understanding the facts behind the issues confronting us is the only way to make wise decisions about policy. A portion of the proceeds from this print will support the work of Brave New Films, who create investigative content around serious social justice issues like voter suppression and racial bias. Thanks for caring!– Shepard
Jermaine Rogers x Emek x Justin Hampton (Post Neo Explosionism / PNE) I'd Love To Turn You On (Beatles), 2009 Screen Print on Archival Paper with Straight Cut Edges 7.5 x 7.25 in
Hand signed, dated + doodled by Emek. Plate signed by Jermaine Rogers & Justin Hampton
Chuck SperryGarbageWarfield San Francisco, California 2012Art CardApprox. 8.5 x 5.5 in
FROM CHUCK SPERRYWhile working on my presentation for Trimarchi, the largest design conference of it’s kind in the Spanish speaking world. Steeped in the amazing psychedelic poster art of Stanley Mouse, Alton Kelley, Wes Wilson, Victor Moscoso, Rick Griffin – and having the original Mouse/Kelley 13th Floor Elevator poster framed and hanging on my drawing studio wall for twenty years – I made this as a very tongue-in-cheek parody of that poster. I liked that Gary Grimshaw (making a poster for the Grande Ballroom) and Mouse/Kelley (making a poster for the Avalon Ballroom) had coincidentally drawn from the same source photo in Life magazine. I felt it would be interesting to draw the syllogism into my own re-contextualization of the same source in the 21st Century. I altered the source image into a portrait of Shirley Manson, lead singer of Garbage. I invented a parody of the Family Dog logo with one of my masonic zombie shriners which says: “The Snot-nose Kid Pays Homage to Mouse • Kelley.” - CS
Shepard Fairey (Obey Giant) Overloading the Grid (David Byrne), 2024 Screen Print on thick cream Speckletone paper 18 x 24 in Edition of 550
Hand Signed & Numbered by the artist. Accompanied by Digital Certificate of Authenticity provided by Verisart. Original illustration based on photograph by Bobby Grossman.
FROM SHEPARD FAIREY I’ve been a fan of the Talking Heads since I was a kid and heard songs like "Once in A Lifetime” and "Burning Down the House” on the radio, well before I discovered punk rock and understood the Talking Heads’ important role in the nascent punk scene as it developed in NYC at CBGB’s in the mid-70’s. I remember seeing the film Stop Making Sense on HBO as a teen and thinking the Talking Heads singer, David Byrne, was very weird and very fearless to dance around in an absurdly oversized suit. I didn’t yet realize that exploring the awkward nature of existence was precisely Byrne’s strong suit! Later, as I got a little more sophisticated, I realized how creatively adventurous the Talking Heads were both musically and with their visuals. I also was excited to find that David, Tina, and Chris all met at the Rhode Island School of Design, the same art college I attended. For this “Overloading the Grid” (David Byrne) print, I collaborated with photographer Bobby Grossman who worked with the Talking Heads in the 70’s. Bobby is also who I’ve collaborated with on three different Debbie Harry images. My inspiration for the grid in the print is the cover of the Talking Heads' album "More Songs About Buildings and Food” whose cover conceived by Byrne uses a grid of close-up Polaroids to form a full picture of the band. I’ve always loved the fractured, imperfect mosaic of that cover. I also like the idea that David Byrne, as a creative visionary, found powerful tension between appealing melody, unexpected sonic explorations, and provocative lyrics. There are so many creative layers to the Talking Heads that they easily overload the grid. Thanks to David and the rest of the Talking Heads for your innovation! A portion of the proceeds from this print will support the ACLU and their mission to protect voting rights and other crucial rights.
–Shepard
