https://www.thegiant.org/wiki/api.php?action=feedcontributions&user=Admonkey&feedformat=atomThe Giant: The Definitive Obey Giant Site - User contributions [en]2024-03-28T19:26:21ZUser contributionsMediaWiki 1.19.15https://www.thegiant.org/wiki/index.php/File:Daniel_Lahoda-Crime_Alert.jpgFile:Daniel Lahoda-Crime Alert.jpg2010-09-16T18:38:35Z<p>Admonkey: </p>
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<div>LAPD Crime Alert - request for information regarding Daniel Lahoda (keywords: JetSet Graffiti, Lahoda Fine Arts) issued by the LAPD Art Theft Detail.</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/File:Daniel_Lahoda-Crime_Alert.jpgFile:Daniel Lahoda-Crime Alert.jpg2010-09-16T18:37:59Z<p>Admonkey: </p>
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<div>LAPD Crime Alert - request for information regarding Daniel Lahoda (keywords: JetSet Graffiti, Lahoda Fine Arts) issued by the LAPD Art Crime Unit.</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/File:Daniel_Lahoda-Crime_Alert.jpgFile:Daniel Lahoda-Crime Alert.jpg2010-09-16T18:34:37Z<p>Admonkey: LAPD Crime Alert - request for information on Daniel Lahoda (Jet Set Graffiti) from the LAPD Art Crime Unit.</p>
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<div>LAPD Crime Alert - request for information on Daniel Lahoda (Jet Set Graffiti) from the LAPD Art Crime Unit.</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/Obey_Flower_(Giant_Star_Peace)_Stencil_Collage_on_PaperObey Flower (Giant Star Peace) Stencil Collage on Paper2010-05-31T19:53:55Z<p>Admonkey: </p>
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<div>{{gallery<br />
|image = Giant Star Peace.jpg<br />
|name = Obey Flower (Giant Star Peace) Stencil Collage on Paper<br />
|year = 2005<br />
|description = Sprayed stencil over mixed media on paper<br />
|edition = 2<br />
|size = 30x44<br />
|provenance = Private Commission (1), Mendenhall Sobieski Gallery (1)<br />
|extra information = The Mendenhall Sobieski Gallery provenance piece was featured in the October 25, 2008 Saturday at Phillips auction and had a pre-sale estimate of $4000-$6000. It sold for $7000 + 25% buyer's premium to a floor bidder after 12 bids were made, becoming the first Obey Giant fine art piece to sell through a major auction house. Also referred to as Obey Flower, Star Flower and Giant Star Peace, it is among the first fine art collages created by Shepard Fairey (2005).<br />
|related pieces = <br />
|related prints = <br />
|detail1 = Obey_flower-01.jpg<br />
|detail2 = Obey_flower-02.jpg<br />
|detail3 = Obey_flower-03.jpg<br />
|detail4 = Obey_flower-04.jpg<br />
|detail5 = Obey_flower-05.jpg<br />
|detail6 = Obey_flower-06.jpg<br />
|detail7 = Obey_flower-07.jpg<br />
|detail8 = Obey_flower-08.jpg<br />
|detail9 = Obey_flower-09.jpg<br />
}}</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/Obey_Flower_(Giant_Star_Peace)_Stencil_Collage_on_PaperObey Flower (Giant Star Peace) Stencil Collage on Paper2010-05-31T19:53:15Z<p>Admonkey: </p>
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<div>{{gallery<br />
|image = Giant Star Peace.jpg<br />
|name = Obey Flower (Giant Star Peace) Stencil Collage on Paper<br />
|year = 2005<br />
|description = Sprayed stencil over mixed media on paper<br />
|edition = 2<br />
|size = 30x44<br />
|provenance = Private Commission (1), Mendenhall Sobieski Gallery (1)<br />
|extra information = The Mendenhall Sobieski Gallery provenance piece was featured in the October 25, 2008 Saturday at Phillips auction and had a pre-sale estimate of $4000-$6000. It sold for $7000 + 25% buyer's premium to a floor bidder after 12 bids were made, becoming the first Obey Giant fine art piece to sell through a major auction house. Also referred to as Obey Flower, Star Flower and Giant Star Peace, it is among the first fine art collages from Shepard Fairey (2005).<br />
|related pieces = <br />
|related prints = <br />
|detail1 = Obey_flower-01.jpg<br />
|detail2 = Obey_flower-02.jpg<br />
|detail3 = Obey_flower-03.jpg<br />
|detail4 = Obey_flower-04.jpg<br />
|detail5 = Obey_flower-05.jpg<br />
|detail6 = Obey_flower-06.jpg<br />
|detail7 = Obey_flower-07.jpg<br />
|detail8 = Obey_flower-08.jpg<br />
|detail9 = Obey_flower-09.jpg<br />
}}</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/Obey_Flower_(Giant_Star_Peace)_Stencil_Collage_on_PaperObey Flower (Giant Star Peace) Stencil Collage on Paper2010-05-31T18:57:33Z<p>Admonkey: </p>
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<div>{{gallery<br />
|image = Giant Star Peace.jpg<br />
|name = Obey Flower (Giant Star Peace) Stencil Collage on Paper<br />
|year = 2005<br />
|description = Sprayed stencil over mixed media on paper<br />
|edition = 2<br />
|size = 30x44<br />
|provenance = Private Commission (1), Mendenhall Sobieski Gallery (1)<br />
|extra information = This piece was featured in the October 25, 2008 Saturday at Phillips auction and had a pre-sale estimate of $4000-$6000. It sold for $7000 + 25% buyer's premium to a floor bidder after 12 bids were made. Also referred to as Obey Flower, Star Flower and Giant Star Peace. <br />
|related pieces = <br />
|related prints = <br />
|detail1 = Obey_flower-01.jpg<br />
|detail2 = Obey_flower-02.jpg<br />
|detail3 = Obey_flower-03.jpg<br />
|detail4 = Obey_flower-04.jpg<br />
|detail5 = Obey_flower-05.jpg<br />
|detail6 = Obey_flower-06.jpg<br />
|detail7 = Obey_flower-07.jpg<br />
|detail8 = Obey_flower-08.jpg<br />
|detail9 = Obey_flower-09.jpg<br />
}}</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/File:Obey_flower-09.jpgFile:Obey flower-09.jpg2010-05-31T18:53:10Z<p>Admonkey: </p>
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<div></div>Admonkeyhttps://www.thegiant.org/wiki/index.php/File:Obey_flower-08.jpgFile:Obey flower-08.jpg2010-05-31T18:52:42Z<p>Admonkey: </p>
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<div></div>Admonkeyhttps://www.thegiant.org/wiki/index.php/File:Obey_flower-07.jpgFile:Obey flower-07.jpg2010-05-31T18:52:16Z<p>Admonkey: </p>
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<div></div>Admonkeyhttps://www.thegiant.org/wiki/index.php/File:Obey_flower-06.jpgFile:Obey flower-06.jpg2010-05-31T18:51:56Z<p>Admonkey: </p>
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<div></div>Admonkeyhttps://www.thegiant.org/wiki/index.php/File:Obey_flower-05.jpgFile:Obey flower-05.jpg2010-05-31T18:51:33Z<p>Admonkey: </p>
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<div></div>Admonkeyhttps://www.thegiant.org/wiki/index.php/File:Obey_flower-04.jpgFile:Obey flower-04.jpg2010-05-31T18:51:08Z<p>Admonkey: </p>
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<div></div>Admonkeyhttps://www.thegiant.org/wiki/index.php/File:Obey_flower-03.jpgFile:Obey flower-03.jpg2010-05-31T18:50:42Z<p>Admonkey: </p>
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<div></div>Admonkeyhttps://www.thegiant.org/wiki/index.php/File:Obey_flower-02.jpgFile:Obey flower-02.jpg2010-05-31T18:50:02Z<p>Admonkey: </p>
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<div></div>Admonkeyhttps://www.thegiant.org/wiki/index.php/File:Obey_flower-01.jpgFile:Obey flower-01.jpg2010-05-31T18:49:27Z<p>Admonkey: </p>
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<div></div>Admonkeyhttps://www.thegiant.org/wiki/index.php/Obey_Flower_(Giant_Star_Peace)_Stencil_Collage_on_PaperObey Flower (Giant Star Peace) Stencil Collage on Paper2010-05-05T03:57:48Z<p>Admonkey: </p>
<hr />
<div>{{gallery<br />
|image = Giant Star Peace.jpg<br />
|name = Obey Flower (Giant Star Peace)<br />
|year = 2005<br />
|description = Sprayed stencil over mixed media on paper<br />
|edition = 2<br />
|size = 30x44<br />
|provenance = Private Commission (1), Mendenhall Sobieski Gallery (1)<br />
|extra information = This piece was featured in the October 25, 2008 Saturday at Phillips auction and had a pre-sale estimate of $4000-$6000. It sold for $7000 + 25% buyer's premium to a floor bidder after 12 bids were made. Also referred to as Obey Flower, Star Flower and Giant Star Peace. <br />
|related pieces = <br />
|related prints = <br />
}}</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/Obey_Flower_(Giant_Star_Peace)_Stencil_Collage_on_PaperObey Flower (Giant Star Peace) Stencil Collage on Paper2010-05-05T03:56:19Z<p>Admonkey: </p>
<hr />
<div>{{gallery<br />
|image = Giant Star Peace.jpg<br />
|name = Obey Flower (Giant Star Peace)<br />
|year = 2005<br />
|description = Sprayed stencil over mixed media on paper<br />
|edition = 2<br />
|size = 30x44<br />
|provenance = Private Commission (1), Mendenhall Sobieski Gallery (1)<br />
|extra information = This piece was featured in the October 25, 2008 Saturday at Phillips auction and had a pre-sale estimate of $4000-$6000. It sold for $7000 + 25% buyer's premium to a floor bidder after 12 bids were made. Also known as Star Flower or Obey Flower. <br />
|related pieces = <br />
|related prints = <br />
}}</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/Obey_Flower_(Giant_Star_Peace)_Stencil_Collage_on_PaperObey Flower (Giant Star Peace) Stencil Collage on Paper2010-05-05T03:24:48Z<p>Admonkey: </p>
<hr />
<div>{{gallery<br />
|image = Giant Star Peace.jpg<br />
|name = Giant Star Peace Stencil Collage on Paper<br />
|year = 2005<br />
|description = Sprayed stencil over mixed media on paper<br />
|edition = 2<br />
|size = 30x44<br />
|provenance = Private Commission (1), Mendenhall Sobieski Gallery (1)<br />
|extra information = This piece was featured in the October 25, 2008 Saturday at Phillips auction and had a pre-sale estimate of $4000-$6000. It sold for $7000 + 25% buyer's premium to a floor bidder after 12 bids were made. Also known as Star Flower. <br />
|related pieces = <br />
|related prints = <br />
}}</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/Obey_Flower_(Giant_Star_Peace)_Stencil_Collage_on_PaperObey Flower (Giant Star Peace) Stencil Collage on Paper2010-05-05T03:21:54Z<p>Admonkey: </p>
<hr />
<div>{{gallery<br />
|image = Giant Star Peace.jpg<br />
|name = Giant Star Peace Stencil Collage on Paper<br />
|year = 2005<br />
|description = stencil collage and mixed media on paper<br />
|edition = 2<br />
|size = 30x44<br />
|provenance = Private Commission (1), Mendenhall Sobieski Gallery (1)<br />
|extra information = This piece was featured in the October 25, 2008 Saturday at Phillips auction and had a pre-sale estimate of $4000-$6000. It sold for $7000 + 25% buyer's premium to a floor bidder after 12 bids were made. Also known as Star Flower. <br />
|related pieces = <br />
|related prints = <br />
}}</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/Obey_Flower_(Giant_Star_Peace)_Stencil_Collage_on_PaperObey Flower (Giant Star Peace) Stencil Collage on Paper2010-05-05T03:20:01Z<p>Admonkey: </p>
<hr />
<div>{{gallery<br />
|image = Giant Star Peace.jpg<br />
|name = Giant Star Peace Stencil Collage on Paper<br />
|year = 2005<br />
|description = stencil collage and mixed media on paper<br />
|edition = 2<br />
|size = 30x44<br />
|provenance = private commission (1), Mendenhall Sobieski Gallery (1)<br />
|extra information = This piece was featured in the October 25, 2008 Saturday at Phillips auction and had a pre-sale estimate of $4000-$6000. It sold for $7000 + 25% buyer's premium to a floor bidder after 12 bids were made. Also known as Star Flower. <br />
|related pieces = <br />
|related prints = <br />
}}</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/File:Daniel_lahoda-jetset_graffiti-eb.pngFile:Daniel lahoda-jetset graffiti-eb.png2010-03-13T04:44:37Z<p>Admonkey: uploaded a new version of "Image:Daniel lahoda-jetset graffiti-eb.png": Daniel Lahoda Jetset Graffiti Art Los Angeles New York Las Vegas London Banksy Shepard Fairey Modern Multiples</p>
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<div></div>Admonkeyhttps://www.thegiant.org/wiki/index.php/File:Daniel_lahoda-jetset_graffiti-eb.pngFile:Daniel lahoda-jetset graffiti-eb.png2010-03-13T03:52:01Z<p>Admonkey: </p>
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<div></div>Admonkeyhttps://www.thegiant.org/wiki/index.php/Microgroove_(microphone)_Album_Cover_HPMMicrogroove (microphone) Album Cover HPM2009-07-26T14:54:16Z<p>Admonkey: </p>
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<div>{{gallery<br />
|image = Microgroove (microphone) Album Cover HPM.jpg<br />
|name = Microgroove (microphone) Album Cover HPM<br />
|year = 2008<br />
|description = silkscreen and mixed media on reclaimed album cover<br />
|edition = 8<br />
|size = 12x12<br />
|provenance = White Walls Gallery<br />
|extra information = This piece retailed for $1100 at [[The Duality of Humanity]].<br />
|related pieces = <br />
|related prints = <br />
|detail1 = Microgroove-a.jpg<br />
|detail2 = Microgroove-b.jpg<br />
|detail3 = Microgroove-c.jpg<br />
|detail4 = Microgroove-d.jpg<br />
|detail5 = Microgroove-e.jpg<br />
|detail6 = Microgroove-f.jpg<br />
}}</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/File:Microgroove-f.jpgFile:Microgroove-f.jpg2009-07-26T14:52:21Z<p>Admonkey: Obey Microgroove, Record Cover HPM, 2008</p>
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<div>Obey Microgroove, Record Cover HPM, 2008</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/File:Microgroove-e.jpgFile:Microgroove-e.jpg2009-07-26T14:51:55Z<p>Admonkey: Obey Microgroove, Record Cover HPM, 2008</p>
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<div>Obey Microgroove, Record Cover HPM, 2008</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/File:Microgroove-d.jpgFile:Microgroove-d.jpg2009-07-26T14:51:37Z<p>Admonkey: Obey Microgroove, Record Cover HPM, 2008</p>
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<div>Obey Microgroove, Record Cover HPM, 2008</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/File:Microgroove-c.jpgFile:Microgroove-c.jpg2009-07-26T14:51:18Z<p>Admonkey: Obey Microgroove, Record Cover HPM, 2008</p>
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<div>Obey Microgroove, Record Cover HPM, 2008</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/File:Microgroove-b.jpgFile:Microgroove-b.jpg2009-07-26T14:50:57Z<p>Admonkey: Obey Microgroove, Record Cover HPM, 2008</p>
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<div>Obey Microgroove, Record Cover HPM, 2008</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/File:Microgroove-a.jpgFile:Microgroove-a.jpg2009-07-26T14:50:25Z<p>Admonkey: Obey Microgroove, Record Cover HPM, 2008</p>
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<div>Obey Microgroove, Record Cover HPM, 2008</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/User:AdmonkeyUser:Admonkey2009-07-15T17:57:16Z<p>Admonkey: </p>
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<div>"I am quite sure now that often, very often, in matters concerning religion and politics a man's reasoning powers are not above the monkey's." -- Mark Twain<br />
<br />
<br />
'''Admonkey''' is an advertising Creative Director who works and plays in Dallas, Texas.<br />
<br />
He has a fondness for Artist's Proofs, prints featuring Andre's mug and Shepard's anti-war/political work.<br />
<br />
He believes Mark Vallen is an ill-informed, misguided, opportunist hack of the first order while feeling that Mat Gleason is a blowhard, Miss Cleo-wanna'be dilettante who, after spending an hour primping in front of the bathroom mirror, simply likes to hear himself speak.<br />
<br />
Admonkey is prone to heavy drinking and purchasing art while inebriated. His opinions of the "artistic elite," on the other hand, are soberly formed and expressed.<br />
<br />
[http://www.thegiant.org/wiki/index.php/Special:Contributions/{{PAGENAMEE}} {{PAGENAME}}'s Contributions]<br />
<br />
[[Image:Admonkey-marilyn.jpg|left]][[Image:Mark_vallen_is_a_hack.jpg|right]]<br />
<br />
<br />
[[Category:TheGiant.Org]]<br />
[[Category:Administrators]]<br />
[[Category:Users]]</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/User:AdmonkeyUser:Admonkey2009-07-15T17:55:47Z<p>Admonkey: </p>
<hr />
<div>'''Admonkey''' is an advertising Creative Director who works and plays in Dallas, Texas.<br />
<br />
He has a fondness for Artist's Proofs, prints featuring Andre's mug and Shepard's anti-war/political work.<br />
<br />
He believes Mark Vallen is an ill-informed, misguided, opportunist hack of the first order while feeling that Mat Gleason is a blowhard, Miss Cleo-wanna'be dilettante who, after spending an hour primping in front of the bathroom mirror, simply likes to hear himself speak.<br />
<br />
Admonkey is prone to heavy drinking and purchasing art while inebriated. His opinions of the "artistic elite," on the other hand, are soberly formed and expressed.<br />
<br />
[http://www.thegiant.org/wiki/index.php/Special:Contributions/{{PAGENAMEE}} {{PAGENAME}}'s Contributions]<br />
<br />
[[Image:Admonkey-marilyn.jpg|left]][[Image:Mark_vallen_is_a_hack.jpg|right]]<br />
<br />
"I am quite sure now that often, very often, in matters concerning religion and politics a man's reasoning powers are not above the monkey's." -- Mark Twain<br />
<br />
[[Category:TheGiant.Org]]<br />
[[Category:Administrators]]<br />
[[Category:Users]]</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/User:AdmonkeyUser:Admonkey2009-03-10T04:35:48Z<p>Admonkey: </p>
<hr />
<div>'''Admonkey''' is an advertising Creative Director who works and plays in Dallas, Texas.<br />
<br />
He has a fondness for Artist's Proofs, prints featuring Andre's mug and Shepard's anti-war/political work.<br />
<br />
He believes Mark Vallen is an ill-informed, misguided, opportunist hack of the first order while feeling that Mat Gleason is a blowhard, Miss Cleo-wanna'be dilettante who, after spending an hour primping in front of the bathroom mirror, simply likes to hear himself speak.<br />
<br />
Admonkey is prone to heavy drinking and purchasing art while inebriated. His opinions of the "artistic elite," on the other hand, are soberly formed and expressed.<br />
<br />
[http://www.thegiant.org/wiki/index.php/Special:Contributions/{{PAGENAMEE}} {{PAGENAME}}'s Contributions]<br />
<br />
[[Image:Admonkey-marilyn.jpg|left]][[Image:Mark_vallen_is_a_hack.jpg|right]]<br />
<br />
<br />
[[Category:TheGiant.Org]]<br />
[[Category:Administrators]]<br />
[[Category:Users]]</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/Category:Fine_ArtCategory:Fine Art2009-03-06T03:11:53Z<p>Admonkey: Added search by image</p>
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<div>This is a list of all catalogued [[Shepard Fairey]] / Obey Giant fine art pieces. Most of these articles are not editable. If you find any problems with any of these pages, please contact a member of our [[management]] team.<br />
<br />
Do you have a fine art piece you'd like to see catalogued here? Send up to four photos of your fine art piece, preferably one head-on, full-view "money shot" of it (mandatory) and an additional three images used to illustrate the close-up details, the piece's scale, its original gallery hanging, etc., to a member of the [[management]] team.<br />
<br />
Additional information we request is: name, year, description (mixed media on canvas, silkscreen on metal, etc.), edition size (if known), size (dimensions), provenance (if known, gallery, commission, etc.), and any additional information you might have (in sentence form).<br />
<br />
To search this index by image, [http://forum.thegiant.org/collection/artgrid.php click here].</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/Category:PrintsCategory:Prints2009-03-06T03:10:35Z<p>Admonkey: Added search by image</p>
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<div>This is a list of all the known [[Shepard Fairey]] / Obey Giant prints. Most of these articles are not editable. If you find any problems with any of these pages, please either contact a member of our [[management]] team or simply drop a note in the discussion of that print.<br />
<br />
'''Are you looking for Shepard Fairey's Fine Art pieces? [[:Category:Fine_Art|Click here]]. If you would like to search prints by year, [[Prints by Year|click here]]. To search by image, [http://forum.thegiant.org/collection/grid.php click here].'''</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/Obey_%2795_(Gallery_Edition)Obey '95 (Gallery Edition)2009-02-17T15:58:33Z<p>Admonkey: </p>
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<div>{{Print | Obey'94galleryedition.png | Obey '95 Gallery Edition | 2005 | 10 | [[Retro Series Print Set|Retro Series]]| 30x42 | ''unknown'' | Screen Print |This image (originally used in the 1995 print [[Griny Obey]]) is one of four large-format prints made to commemorate the release of [[Shepard Fairey|Shepard’s]] book, ''[[Supply and Demand Book|Supply and Demand]]''. Each print depicts an evolution of Shepard’s design and form, from 1989, 1995, 1999, and 2004.<br />
<br />
The Gallery Editions of the Retro Series prints were an edition of 10, though at least one AP and PP are known to exist, and feature deckled edges and a metallic gold pattern printed atop the main silkscreened image.|[[Griny Obey]] - [[Obey '89 Gallery Edition]] - [[Obey '95]] - [[Obey '99 Gallery Edition]] - [[Obey '04 Gallery Edition]]||[[Obey '95 HPM on Paper]]|}}</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/Obey_%2795_(Gallery_Edition)Obey '95 (Gallery Edition)2009-02-17T15:55:39Z<p>Admonkey: </p>
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<div>{{Print | Obey'94galleryedition.png | Obey '95 Gallery Edition | 2005 | 10 | [[Retro Series Print Set|Retro Series]]| 30x42 | ''unknown'' | Screen Print |This image (originally used in the 1995 print [[Griny Obey]]) is one of four large-format prints made to commemorate the release of [[Shepard Fairey|Shepard’s]] book, ''[[Supply and Demand Book|Supply and Demand]]''. Each print depicts an evolution of Shepard’s design and form, from 1989, 1995, 1999, and 2004.<br />
<br />
The Gallery Editions of the Retro Series prints were an edition of 10, though at least one AP and PP are known to exist, and feature a pattern underneath the silkscreen.|[[Griny Obey]] - [[Obey '89 Gallery Edition]] - [[Obey '95]] - [[Obey '99 Gallery Edition]] - [[Obey '04 Gallery Edition]]||[[Obey '95 HPM on Paper]]|}}</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/Obey_%2795_(Gallery_Edition)Obey '95 (Gallery Edition)2009-02-09T15:06:56Z<p>Admonkey: Changed date; is signed '05.</p>
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<div>{{Print | Obey'94galleryedition.png | Obey '95 Gallery Edition | 2005 | 10 | [[Retro Series Print Set|Retro Series]]| 30x42 | ''unknown'' | Screen Print |This image (originally used in the 1995 print [[Griny Obey]]) is one of four large-format prints made to commemorate the release of [[Shepard Fairey|Shepard’s]] book, ''[[Supply and Demand Book|Supply and Demand]]''. Each print depicts an evolution of Shepard’s design and form, from 1989, 1995, 1999, and 2004.<br />
<br />
The Gallery Editions of the Retro Series prints were an edition of 10, though APs and PPs are thought to exist, and feature a pattern underneath the silkscreen.|[[Griny Obey]] - [[Obey '89 Gallery Edition]] - [[Obey '95]] - [[Obey '99 Gallery Edition]] - [[Obey '04 Gallery Edition]]||[[Obey '95 HPM on Paper]]|}}</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/Winter_Dance_PartyWinter Dance Party2009-02-02T15:10:58Z<p>Admonkey: </p>
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<div>The ''Winter Dance Party'' was a concert tour featuring Buddy Holly, Ritchie Valens, J.P. "Big Bopper" Richardson, Dion & The Belmonts and Frankie Sardo. This was scheduled to be three weeks full of one night stands, beginning in Milwaukee, Wisconsin on January 23, 1959 and winding up in Springfield, Illinois on February 15, 1959. However, just after 1 AM on February 3, the three-passenger Beechcraft Bonanza carrying Holley, Valens and Richardson crashed five miles northwest of Mason City Municipal Airport, near Clear Lake, Iowa, killing all aboard.<br />
<br />
----<br />
The cover of the program for ''Winter Dance Party'' served as the model for Shepard's 1997 print [[Kulture Deluxe]].<br />
<br />
<br />
{|<br />
| [[Image:Kulture deluxe reference.jpg|thumb|218px|left|''Winter Dance Party'' program cover]] ||[[Image:Kulture.gif|thumb|218px|left|[[Kulture Deluxe]]]]<br />
|}<br />
<br />
[[Category:TheGiant.Org]]<br />
[[Category:References]]<br />
{{copyright}}</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/Winter_Dance_PartyWinter Dance Party2009-02-02T15:06:28Z<p>Admonkey: </p>
<hr />
<div>The ''Winter Dance Party'' was a concert tour featuring Buddy Holly, Ritchie Valens, J.P. "Big Bopper" Richardson, Dion & The Belmonts and Frankie Sardo. This was scheduled to be three weeks full of one night stands, beginning in Milwaukee, Wisconsin on January 23, 1959 and winding up in Springfield, Illinois on February 15, 1959. However, just after 1 a.m. on February 3, the three-passenger Beechcraft Bonanza carrying Holley, Valens and Richardson went down about five miles northwest of Mason City Municipal Airport, near Clear Lake, Iowa, killing all aboard.<br />
<br />
----<br />
The cover of the program for ''Winter Dance Party'' served as the model for Shepard's 1997 print [[Kulture Deluxe]].<br />
<br />
<br />
{|<br />
| [[Image:Kulture deluxe reference.jpg|thumb|218px|left|''Winter Dance Party'' program cover]] ||[[Image:Kulture.gif|thumb|218px|left|[[Kulture Deluxe]]]]<br />
|}<br />
<br />
[[Category:TheGiant.Org]]<br />
[[Category:References]]<br />
{{copyright}}</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/Winter_Dance_PartyWinter Dance Party2009-02-02T15:04:55Z<p>Admonkey: </p>
<hr />
<div>Information and photo from [http://howardolson.tripod.com/ The Waylon Files]:<br />
<br />
<br />
The ''Winter Dance Party'' was a concert tour featuring Buddy Holly, Ritchie Valens, J.P. "Big Bopper" Richardson, Dion & The Belmonts and Frankie Sardo. This was scheduled to be three weeks full of one night stands, beginning in Milwaukee, Wisconsin on January 23, 1959 and winding up in Springfield, Illinois on February 15, 1959. However, just after 1 a.m. on February 3, the three-passenger Beechcraft Bonanza carrying Holley, Valens and Richardson went down about five miles northwest of Mason City Municipal Airport, near Clear Lake, Iowa, killing all aboard.<br />
<br />
----<br />
The cover of the program for ''Winter Dance Party'' served as the model for Shepard's 1997 print [[Kulture Deluxe]].<br />
<br />
<br />
{|<br />
| [[Image:Kulture deluxe reference.jpg|thumb|218px|left|''Winter Dance Party'' program cover]] ||[[Image:Kulture.gif|thumb|218px|left|[[Kulture Deluxe]]]]<br />
|}<br />
<br />
[[Category:TheGiant.Org]]<br />
[[Category:References]]<br />
{{copyright}}</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/Obama_Hope_Stencil_Collage_on_PaperObama Hope Stencil Collage on Paper2009-01-19T19:58:46Z<p>Admonkey: </p>
<hr />
<div>{{gallery<br />
|image = Obama Hope Stencil Collage on Paper.jpg<br />
|name = Obama Hope Stencil Collage on Paper<br />
|year = 2008<br />
|description = stencil collage on paper<br />
|edition = 3<br />
|size = 45x69<br />
|provenance = Art for Life Art Auction, Irvine Contemporary<br />
|extra information = On July 24, 2008, this piece fetched the highest price ever to-date for a work by Shepard Fairey, selling at auction for $108,000.00. The second detail picture below is the copy exhibited, but not for sale, at [[The Duality of Humanity]]. The third example from this edition was available at [[Regime Change Starts at Home]]. On January 17, 2009, it was [http://face2face.si.edu/my_weblog/2009/01/now-on-view-portrait-of-barack-obama-by-shepard-fairey.html unveiled to the public] as the newest addition to the Smithsonian Institution National Portrait Gallery's permanent collection.<br />
|related pieces = [[Obama Manifest Hope Installation]] - [[Obama Progress Installation]]<br />
|related prints = [[Obama Change]] - [[Obama Hope Offset]] - [[Obama Hope Signed Paster]] - [[Obama Progress]] - [[Obama Progress Small]] - [[Obama Vote]] - [[Obama Vote Small]] - [[Yes We Did - Victory! (Signed Edition)]] - [[Yes We Did - Victory! (Unsigned Edition)]]<br />
|detail1 = ObamahopeHPM.jpg<br />
|detail2 = Obama Hope Stencil Collage on Paper Detail 2.jpg<br />
}}</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/ARTnewsARTnews2008-11-17T17:53:59Z<p>Admonkey: Protected "ARTnews" [edit=sysop:move=sysop]</p>
<hr />
<div>From [http://www.artnewsonline.com/issues/article.asp?art_id=2570 ''ARTnews'', November, 2008]:<br />
<br />
<br />
'''A Two-Way Street'''<br />
<br />
''Street art—including stickers, posters, murals, graffiti, and even 3-D sculptures—is making its way into mainstream galleries and museums. By Carolina A. Miranda''<br />
<br />
In 1989 a lanky 19-year-old working at a Rhode Island skate shop created a mug shot–style sticker of a seven-foot-tall, 500-pound French wrestler named Andre the Giant. As far as stickers go, it was pretty crude. A hand-stenciled image of his face was accompanied by the inscrutable phrase “Andre the Giant Has a Posse.” The artist ran off 100 copies of the image and got to work pasting it all over Providence. Once he had the city covered, he moved on to Boston, New York, and the rest of the eastern seaboard. “Andre” materialized everywhere—stop signs, pay phones, airport bathrooms. A startled patron at an Athens, Georgia, diner found the wrestler’s sleepy visage staring back at him from the inside lid of a coffee creamer.<br />
<br />
For Shepard Fairey, the work’s creator, the thrill of perplexing the public with a mysterious slogan (is it a band? is it a cult?) was the beginning of a prolific career making street art—the catchall used to describe not-always-legally-installed stickers, posters, stencils, murals, and 3-D sculptures. His works—which bear a signature mix of Constructivism, Art Nouveau, and punk graphics—have papered back alleys and water towers from Melbourne to Barcelona. They have been featured in gallery shows in New York, Los Angeles, and Berlin.<br />
<br />
The buzz surrounding Fairey’s work (including his now-iconic Barack Obama posters bearing the words “hope,” “progress,” and “change”) has led to the artist’s first solo museum show, “Supply and Demand,” opening at Boston’s Institute of Contemporary Art on February 6. “He is such an inspiration and so influential to a younger generation of street artists,” says Emily Moore Brouillet, the ICA assistant curator who organized the exhibition. “It goes so far beyond that original sticker. He’s created a big body of work.” More than 80 pieces will be displayed in the museum: stickers, paintings, posters, and wall-size installations, along with such tools of the street-art trade as silk screens and wheat paste, a wallpaper adhesive used to affix posters to brick and concrete.<br />
<br />
Fairey is part of a wave of street artists gaining acceptance in mainstream museums. Last summer London’s Tate Modern presented six towering murals on an exterior wall, created by a global lineup of street artists. Among those featured was Faile—the New York City duo known for graphic mash-ups of pulp fiction imagery—as well as Blu, an Italian artist whose monumental black-and-white doodles have long been materializing on abandoned buildings all over Europe, and the Brazilian brothers known as Os Gemeos. The Carnegie Museum of Art in Pittsburgh has included a sprawling, kaleidoscopic hallway piece by installation artist and celebrated graffitist Barry McGee in its 55th Carnegie International, on view through January 11. McGee has done other museum projects, including covering the facade of the Museum of Contemporary Art in Detroit—at the museum’s request—with a bubbly, 110-foot graffiti tag that reads “Amaze.” Last year the New York–based Espo (a.k.a. Steve Powers) was the subject of a solo show at the Pennsylvania Academy of the Fine Arts in Philadelphia. And figurative prints by Swoon, another New York artist, are part of the permanent collections of the Museum of Modern Art and the Brooklyn Museum. It’s a surprising turn for an urban art form that until now has received minimal attention from the fine art world—and one that can land its practititioners in jail for anything from vandalism to breaking and entering.<br />
<br />
“I’ve generally found that there has been a bias against artists who didn’t play by the established rules, who weren’t the product of influential curators and writers,” says Jeffrey Deitch, the Manhattan dealer who represents Swoon, Espo, Os Gemeos, and McGee, as well as the estate of ’80s graffitist Keith Haring. But, he notes, this attitude has begun to change. “Now there’s a number of younger curators who followed these artists when they were working on the streets and who are now in positions to do something,” says Deitch. “They don’t make a differentiation that Swoon chose to develop her work on the street or that she’s somehow not as worthy of serious attention as an artist who went to the Whitney Independent Study Program.”<br />
<br />
That’s not to say that these artists are without art-world pedigrees. For the most part, they went to art school, even if they didn’t stick around to earn M.F.A.s. Fairey graduated from the Rhode Island School of Design, Swoon from Pratt Institute, and McGee from the San Francisco Art Institute. Espo recently received a Fulbright grant. These artists have made their way to museums through a network of galleries such as New Image Art and Merry Karnowsky in Los Angeles, Lazarides in London, and Jonathan LeVine and Deitch Projects in New York—places that have helped artists hone their work in white-box settings. At Deitch, Swoon has expanded her repertoire of intricate linoleum-print portraits into three-dimensional installations depicting urban cityscapes and their denizens. As did McGee, who is now known for transforming interior spaces with bright, geometric wall panels, upended trucks, and folksy line drawings of drowsy men.<br />
<br />
Collectors and auction houses have taken notice. A silk-screened canvas by Faile at Lazarides, for example, can run to $50,000. Fairey’s larger works (mixed media on wood or canvas, mainly) sell at Jonathan LeVine for up to $50,000. White Walls Gallery in San Francisco recently featured more than 100 of Fairey’s works in a solo exhibition, including a 10-by-14-foot collaged canvas called The Duality of Humanity 2 that was priced at $85,000. And at Deitch, Swoon and McGee are selling canvases and large-scale installations for as much as $45,000 and $250,000, respectively. Earlier this year Bonhams in London held its first auction devoted exclusively to street and other urban art, as did Phillips de Pury & Company’s London branch. The Bonhams sale comprised 74 lots and raked in about $2 million. A Faile screenprint, titled The Savage World of Faile (2007), sold for more than $40,000; Bonhams scheduled a second auction of street art for late last month.<br />
<br />
Museums have picked up on street art’s marketability as well. “We have a totally new audience that’s come to the Tate because of this. We’ve had 10-year-old kids and 70-year-old people,” says Cedar Lewisohn, curator of the Tate Modern’s “Street Art” show and author of the related monograph, Street Art: The Graffiti Revolution. “The exhibit has been a two-way thing. For people who weren’t interested in street art, the show was an introduction. For people who weren’t interested in galleries, it shows that we’re speaking to them, too.”<br />
<br />
The artwork itself draws its inspiration from a wide range of sources—Swoon has cited both Indonesian shadow puppets and Gordon Matta-Clark as influences—but it seems to rely most heavily on popular culture. Espo’s paintings pair acerbic quips (“Everything is shit except you, Love”) with feel-good imagery from vintage commercial signs, while McGee’s animatronic installations of hooded figures wielding spray-paint cans draw heavily from the graffiti world.<br />
<br />
Fairey, who’s based in Los Angeles, says his principal influences have always been well outside the artistic establishment. “The things that inspired me to make art weren’t museums and galleries,” he says. “It was skateboard graphics and punk T-shirts and album packaging. My ability to trickle up into the real art world has been in spite of my populist leanings.”<br />
<br />
Some of the genre’s longtime fans complain that sanctioned shows suck the life out of an art form that is intended to be immediate and unfiltered. “I know I’m not alone, but I still have ambivalent feelings with the Tate modern Street-art exhibition,” wrote one dismayed poster on ekosystem.org, an online graffiti forum, over the summer. But for the artists, some of whom expend a good deal of energy tangling with law enforcement (Fairey racked up his 14th arrest in August during the Democratic National Convention in Denver), the time and resources to work on something thoughtful and polished can prove an effective creative boon. “This provides artists with an opportunity to push themselves, to create a piece that they wouldn’t have been able to otherwise,” says Lewisohn, pointing to the massive scale of the Tate Modern murals.<br />
<br />
The Tate Modern exhibition has had the side effect of getting at least one city to reconsider how it deals with graffiti. Os Gemeos have long painted their stylized yellow figures on the streets of São Paulo, both legally and illegally. But just as Tate Modern was honoring the brothers’ work, the city of São Paulo was busy whitewashing their murals in the interest of eliminating “visual pollution.” One official told a reporter that the cleanup was an embarrassment to the city: “You have the English pampering our graffiti art, and we’re not giving it the least bit of value?” São Paulo will now establish a registry of street art to be preserved.<br />
<br />
Increased acceptance is good news for street artists who aren’t entirely giving up gritty urban settings in favor of pristine galleries and museums. Swoon’s stylized portraits still materialize on walls around New York City, and McGee’s tags can still be found in California alleys. When Fairey travels to Boston in January to oversee the installation of his show at the ICA, hitting the streets will be part of the plan. “I’m just going to do my thing,” he says, “the way I always do.” <br />
<br />
<br />
Carolina A. Miranda is a freelance writer who has contributed to Time, nytimes.com, and Florida Travel & Life. She blogs about art and architecture at c-monster.net. <br />
[[Category:TheGiant.Org]]<br />
[[Category:Other Media]]<br />
[[Category:Publications]]<br />
[[Category:Press]]</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/ARTnewsARTnews2008-11-17T17:53:42Z<p>Admonkey: New page: From [http://www.artnewsonline.com/issues/article.asp?art_id=2570 ''ARTnews'', November, 2008]: '''A Two-Way Street''' ''Street art—including stickers, posters, murals, graffiti, and ...</p>
<hr />
<div>From [http://www.artnewsonline.com/issues/article.asp?art_id=2570 ''ARTnews'', November, 2008]:<br />
<br />
<br />
'''A Two-Way Street'''<br />
<br />
''Street art—including stickers, posters, murals, graffiti, and even 3-D sculptures—is making its way into mainstream galleries and museums. By Carolina A. Miranda''<br />
<br />
In 1989 a lanky 19-year-old working at a Rhode Island skate shop created a mug shot–style sticker of a seven-foot-tall, 500-pound French wrestler named Andre the Giant. As far as stickers go, it was pretty crude. A hand-stenciled image of his face was accompanied by the inscrutable phrase “Andre the Giant Has a Posse.” The artist ran off 100 copies of the image and got to work pasting it all over Providence. Once he had the city covered, he moved on to Boston, New York, and the rest of the eastern seaboard. “Andre” materialized everywhere—stop signs, pay phones, airport bathrooms. A startled patron at an Athens, Georgia, diner found the wrestler’s sleepy visage staring back at him from the inside lid of a coffee creamer.<br />
<br />
For Shepard Fairey, the work’s creator, the thrill of perplexing the public with a mysterious slogan (is it a band? is it a cult?) was the beginning of a prolific career making street art—the catchall used to describe not-always-legally-installed stickers, posters, stencils, murals, and 3-D sculptures. His works—which bear a signature mix of Constructivism, Art Nouveau, and punk graphics—have papered back alleys and water towers from Melbourne to Barcelona. They have been featured in gallery shows in New York, Los Angeles, and Berlin.<br />
<br />
The buzz surrounding Fairey’s work (including his now-iconic Barack Obama posters bearing the words “hope,” “progress,” and “change”) has led to the artist’s first solo museum show, “Supply and Demand,” opening at Boston’s Institute of Contemporary Art on February 6. “He is such an inspiration and so influential to a younger generation of street artists,” says Emily Moore Brouillet, the ICA assistant curator who organized the exhibition. “It goes so far beyond that original sticker. He’s created a big body of work.” More than 80 pieces will be displayed in the museum: stickers, paintings, posters, and wall-size installations, along with such tools of the street-art trade as silk screens and wheat paste, a wallpaper adhesive used to affix posters to brick and concrete.<br />
<br />
Fairey is part of a wave of street artists gaining acceptance in mainstream museums. Last summer London’s Tate Modern presented six towering murals on an exterior wall, created by a global lineup of street artists. Among those featured was Faile—the New York City duo known for graphic mash-ups of pulp fiction imagery—as well as Blu, an Italian artist whose monumental black-and-white doodles have long been materializing on abandoned buildings all over Europe, and the Brazilian brothers known as Os Gemeos. The Carnegie Museum of Art in Pittsburgh has included a sprawling, kaleidoscopic hallway piece by installation artist and celebrated graffitist Barry McGee in its 55th Carnegie International, on view through January 11. McGee has done other museum projects, including covering the facade of the Museum of Contemporary Art in Detroit—at the museum’s request—with a bubbly, 110-foot graffiti tag that reads “Amaze.” Last year the New York–based Espo (a.k.a. Steve Powers) was the subject of a solo show at the Pennsylvania Academy of the Fine Arts in Philadelphia. And figurative prints by Swoon, another New York artist, are part of the permanent collections of the Museum of Modern Art and the Brooklyn Museum. It’s a surprising turn for an urban art form that until now has received minimal attention from the fine art world—and one that can land its practititioners in jail for anything from vandalism to breaking and entering.<br />
<br />
“I’ve generally found that there has been a bias against artists who didn’t play by the established rules, who weren’t the product of influential curators and writers,” says Jeffrey Deitch, the Manhattan dealer who represents Swoon, Espo, Os Gemeos, and McGee, as well as the estate of ’80s graffitist Keith Haring. But, he notes, this attitude has begun to change. “Now there’s a number of younger curators who followed these artists when they were working on the streets and who are now in positions to do something,” says Deitch. “They don’t make a differentiation that Swoon chose to develop her work on the street or that she’s somehow not as worthy of serious attention as an artist who went to the Whitney Independent Study Program.”<br />
<br />
That’s not to say that these artists are without art-world pedigrees. For the most part, they went to art school, even if they didn’t stick around to earn M.F.A.s. Fairey graduated from the Rhode Island School of Design, Swoon from Pratt Institute, and McGee from the San Francisco Art Institute. Espo recently received a Fulbright grant. These artists have made their way to museums through a network of galleries such as New Image Art and Merry Karnowsky in Los Angeles, Lazarides in London, and Jonathan LeVine and Deitch Projects in New York—places that have helped artists hone their work in white-box settings. At Deitch, Swoon has expanded her repertoire of intricate linoleum-print portraits into three-dimensional installations depicting urban cityscapes and their denizens. As did McGee, who is now known for transforming interior spaces with bright, geometric wall panels, upended trucks, and folksy line drawings of drowsy men.<br />
<br />
Collectors and auction houses have taken notice. A silk-screened canvas by Faile at Lazarides, for example, can run to $50,000. Fairey’s larger works (mixed media on wood or canvas, mainly) sell at Jonathan LeVine for up to $50,000. White Walls Gallery in San Francisco recently featured more than 100 of Fairey’s works in a solo exhibition, including a 10-by-14-foot collaged canvas called The Duality of Humanity 2 that was priced at $85,000. And at Deitch, Swoon and McGee are selling canvases and large-scale installations for as much as $45,000 and $250,000, respectively. Earlier this year Bonhams in London held its first auction devoted exclusively to street and other urban art, as did Phillips de Pury & Company’s London branch. The Bonhams sale comprised 74 lots and raked in about $2 million. A Faile screenprint, titled The Savage World of Faile (2007), sold for more than $40,000; Bonhams scheduled a second auction of street art for late last month.<br />
<br />
Museums have picked up on street art’s marketability as well. “We have a totally new audience that’s come to the Tate because of this. We’ve had 10-year-old kids and 70-year-old people,” says Cedar Lewisohn, curator of the Tate Modern’s “Street Art” show and author of the related monograph, Street Art: The Graffiti Revolution. “The exhibit has been a two-way thing. For people who weren’t interested in street art, the show was an introduction. For people who weren’t interested in galleries, it shows that we’re speaking to them, too.”<br />
<br />
The artwork itself draws its inspiration from a wide range of sources—Swoon has cited both Indonesian shadow puppets and Gordon Matta-Clark as influences—but it seems to rely most heavily on popular culture. Espo’s paintings pair acerbic quips (“Everything is shit except you, Love”) with feel-good imagery from vintage commercial signs, while McGee’s animatronic installations of hooded figures wielding spray-paint cans draw heavily from the graffiti world.<br />
<br />
Fairey, who’s based in Los Angeles, says his principal influences have always been well outside the artistic establishment. “The things that inspired me to make art weren’t museums and galleries,” he says. “It was skateboard graphics and punk T-shirts and album packaging. My ability to trickle up into the real art world has been in spite of my populist leanings.”<br />
<br />
Some of the genre’s longtime fans complain that sanctioned shows suck the life out of an art form that is intended to be immediate and unfiltered. “I know I’m not alone, but I still have ambivalent feelings with the Tate modern Street-art exhibition,” wrote one dismayed poster on ekosystem.org, an online graffiti forum, over the summer. But for the artists, some of whom expend a good deal of energy tangling with law enforcement (Fairey racked up his 14th arrest in August during the Democratic National Convention in Denver), the time and resources to work on something thoughtful and polished can prove an effective creative boon. “This provides artists with an opportunity to push themselves, to create a piece that they wouldn’t have been able to otherwise,” says Lewisohn, pointing to the massive scale of the Tate Modern murals.<br />
<br />
The Tate Modern exhibition has had the side effect of getting at least one city to reconsider how it deals with graffiti. Os Gemeos have long painted their stylized yellow figures on the streets of São Paulo, both legally and illegally. But just as Tate Modern was honoring the brothers’ work, the city of São Paulo was busy whitewashing their murals in the interest of eliminating “visual pollution.” One official told a reporter that the cleanup was an embarrassment to the city: “You have the English pampering our graffiti art, and we’re not giving it the least bit of value?” São Paulo will now establish a registry of street art to be preserved.<br />
<br />
Increased acceptance is good news for street artists who aren’t entirely giving up gritty urban settings in favor of pristine galleries and museums. Swoon’s stylized portraits still materialize on walls around New York City, and McGee’s tags can still be found in California alleys. When Fairey travels to Boston in January to oversee the installation of his show at the ICA, hitting the streets will be part of the plan. “I’m just going to do my thing,” he says, “the way I always do.” <br />
<br />
<br />
Carolina A. Miranda is a freelance writer who has contributed to Time, nytimes.com, and Florida Travel & Life. She blogs about art and architecture at c-monster.net. <br />
[[Category:TheGiant.Org]]<br />
[[Category:Other Media]]<br />
[[Category:Publications]]<br />
[[Category:Press]]</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/SNOSNO2008-10-16T13:20:03Z<p>Admonkey: Protected "SNO" [edit=sysop:move=sysop]</p>
<hr />
<div>#REDIRECT:[[Studio Number One]]</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/SNOSNO2008-10-16T13:19:56Z<p>Admonkey: Redirecting to Studio Number One</p>
<hr />
<div>#REDIRECT:[[Studio Number One]]</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/Ahmet_ErtegunAhmet Ertegun2008-10-03T02:27:53Z<p>Admonkey: </p>
<hr />
<div>{{Print | Ahmet(1).jpg | Ahmet Ertegun | 2007 | 100 | ''none'' | TBD | ''unknown'' | Screen Print ||||}}</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/HPMHPM2008-09-13T14:00:29Z<p>Admonkey: </p>
<hr />
<div>HPM: Hand Printed Multiple.<br />
<br />
[[Category:TheGiant.Org]]<br />
{{stub}}</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/WestwordWestword2008-09-04T10:44:52Z<p>Admonkey: Protected "Westword" [edit=sysop:move=sysop]</p>
<hr />
<div>From the Denver [http://www.westword.com/2008-09-04/news/shepard-fairey-and-robert-indiana-cause-trouble-at-the-dnc ''Westword'', September 4, 2008]:<br />
<br />
<br />
'''Shepard Fairey and Robert Indiana cause trouble at the DNC'''<br />
<br />
''Published on September 04, 2008''<br />
<br />
Police arrested 154 people in Denver last week, most of whom were involved in protests of one sort or another. Buried in this list is the name Frank S. Fairey, which contemporary art fans will recognize as the birth name of one of the most famous street artists in the world: Shepard Fairey. He was in town as part of the Manifest Hope gallery show featuring art inspired by Barack Obama, and Fairey's multi-toned poster of Obama's face, coupled with words like "HOPE" and "PROGRESS," have become ubiquitous icons of the campaign, appearing on billboards, T-shirts, hats and magazines.<br />
<br />
On August 25, Fairey took a break from installing the gallery show to hang posters around downtown Denver, wheat-pasting them to the sides of buildings. Denver artist Scot Lefavor and a small crew of filmmakers making a documentary on Fairey went along. But when they got to an alleyway near 16th Avenue and Sherman Street around midnight, they saw a line of officers in full riot gear running toward them.<br />
<br />
In a video interview with the website www.imeem.com, Fairey says that as the group tried to exit the other end of the alley, the police drew their guns. "Get on the fucking ground or we're going to kick you in the fucking head!" Fairey quotes them as saying. The artists were thrown down, handcuffed and arrested, charged with "interference and posting unauthorized posters."<br />
<br />
Though it was the fourteenth such arrest for Fairey, who got his start in the early 1990s with the Andre the Giant Has a Posse sticker campaign, the experience ranks as one of the most unusual. Fairey and company spent seventeen hours in jail, first at the infamous "Gitmo on the Platte" warehouse the city set up for DNC protesters; also in the house were about 100 anarchists whom police had pepper-sprayed and arrested earlier that evening. "We had some peanut butter and jelly sandwiches and played some paper football and hung out with anarchists all night," says Lefavor.<br />
<br />
But Fairey isn't ready to quit postering. "It would take me having potential jail time to quit postering, and that's not likely to happen," he says. Unless, of course, he breaks his six months of unsupervised probation by getting caught in Denver again.<br />
<br />
And Fairey wasn't the only artist to get caught in the tentacles of DNC security. The week before the convention, Alan Jones, owner of high-end art-installation company Ship Art Denver, got an exciting rush job to deliver sculptor Robert Indiana's "HOPE" — a remake of his 1976 pop icon "LOVE" piece in Philadelphia's JFK plaza — to the sidewalk in front of the Pepsi Center. But when Jones went to the stadium to take photos of the site, he was quickly grabbed by security and questioned for nearly an hour.<br />
<br />
Nevertheless, Jones isn't bitter, especially since the sculpture turned out to be a hit.<br />
<br />
"I think the beauty of the piece is that Indiana tweaked 'LOVE' just enough to define this new generation," he says.<br />
<br />
The message for the new era? It's possible to go from Love to Hope — but first you have to go through security.<br />
<br />
[[Category:TheGiant.Org]]<br />
[[Category:Other Media]]<br />
[[Category:Publications]]<br />
[[Category:Press]]</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/WestwordWestword2008-09-04T10:44:34Z<p>Admonkey: New page: From the Denver [http://www.westword.com/2008-09-04/news/shepard-fairey-and-robert-indiana-cause-trouble-at-the-dnc ''Westword'', September 4, 2008]: '''Shepard Fairey and Robert Indiana...</p>
<hr />
<div>From the Denver [http://www.westword.com/2008-09-04/news/shepard-fairey-and-robert-indiana-cause-trouble-at-the-dnc ''Westword'', September 4, 2008]:<br />
<br />
<br />
'''Shepard Fairey and Robert Indiana cause trouble at the DNC'''<br />
<br />
''Published on September 04, 2008''<br />
<br />
Police arrested 154 people in Denver last week, most of whom were involved in protests of one sort or another. Buried in this list is the name Frank S. Fairey, which contemporary art fans will recognize as the birth name of one of the most famous street artists in the world: Shepard Fairey. He was in town as part of the Manifest Hope gallery show featuring art inspired by Barack Obama, and Fairey's multi-toned poster of Obama's face, coupled with words like "HOPE" and "PROGRESS," have become ubiquitous icons of the campaign, appearing on billboards, T-shirts, hats and magazines.<br />
<br />
On August 25, Fairey took a break from installing the gallery show to hang posters around downtown Denver, wheat-pasting them to the sides of buildings. Denver artist Scot Lefavor and a small crew of filmmakers making a documentary on Fairey went along. But when they got to an alleyway near 16th Avenue and Sherman Street around midnight, they saw a line of officers in full riot gear running toward them.<br />
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In a video interview with the website www.imeem.com, Fairey says that as the group tried to exit the other end of the alley, the police drew their guns. "Get on the fucking ground or we're going to kick you in the fucking head!" Fairey quotes them as saying. The artists were thrown down, handcuffed and arrested, charged with "interference and posting unauthorized posters."<br />
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Though it was the fourteenth such arrest for Fairey, who got his start in the early 1990s with the Andre the Giant Has a Posse sticker campaign, the experience ranks as one of the most unusual. Fairey and company spent seventeen hours in jail, first at the infamous "Gitmo on the Platte" warehouse the city set up for DNC protesters; also in the house were about 100 anarchists whom police had pepper-sprayed and arrested earlier that evening. "We had some peanut butter and jelly sandwiches and played some paper football and hung out with anarchists all night," says Lefavor.<br />
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But Fairey isn't ready to quit postering. "It would take me having potential jail time to quit postering, and that's not likely to happen," he says. Unless, of course, he breaks his six months of unsupervised probation by getting caught in Denver again.<br />
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And Fairey wasn't the only artist to get caught in the tentacles of DNC security. The week before the convention, Alan Jones, owner of high-end art-installation company Ship Art Denver, got an exciting rush job to deliver sculptor Robert Indiana's "HOPE" — a remake of his 1976 pop icon "LOVE" piece in Philadelphia's JFK plaza — to the sidewalk in front of the Pepsi Center. But when Jones went to the stadium to take photos of the site, he was quickly grabbed by security and questioned for nearly an hour.<br />
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Nevertheless, Jones isn't bitter, especially since the sculpture turned out to be a hit.<br />
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"I think the beauty of the piece is that Indiana tweaked 'LOVE' just enough to define this new generation," he says.<br />
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The message for the new era? It's possible to go from Love to Hope — but first you have to go through security.<br />
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[[Category:Press]]</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/Los_Angeles_TimesLos Angeles Times2008-08-25T12:56:52Z<p>Admonkey: </p>
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<div>From the [http://www.latimes.com/news/opinion/la-oe-daum12apr12,0,5472791.column ''Los Angeles Times'', April 12, 2008]:<br />
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'''Obama as an art form'''<br />
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''Will those images by Shepard Fairey that are spreading across the landscape help or hurt the candidate? By Meghan Daum''<br />
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Barack Obama's face is throwing me into an existential tailspin. I'm talking about those red, cream and blue art posters all over town. If you don't know what I mean, take one look around a Trader Joe's parking lot, paying special attention to the rear windows of Priuses or bio-diesel vehicles, and I guarantee that you'll see one of these things on proud and ultra-hip display. <br />
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The posters, which depict a blocky, silk-screen-style image of Obama's shoulders and face, exist in a few versions, bearing the words "Hope," "Change" or "Progress."<br />
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The creator is Shepard Fairey, an L.A.-based artist and marketing designer who became known (to some people at least) in the early 1990s when he made stickers portraying a stenciled image of professional wrestler Andre the Giant. Capturing a style that might be described as Bolshevik constructivism meets skate-punk graffiti art, the stickers, which included the words "Obey Giant" and which he slapped on every surface he could find, quickly ascended to the realm of underground art phenomenon. Fairey, who's been arrested several times on charges of defacing billboards and other property, eventually parlayed the sticker enterprise into a not-so-underground T-shirt business.<br />
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Today, the concept of "obey" does double duty for Fairey as a business name as well as a sort of de facto free-ranging form of political protest. He sells his artwork through his own gallery as well as Obey Giant Art Inc. and licenses apparel though Obey Clothing. His website -- which sells stickers, posters and prints -- bills itself as an agent of "worldwide propaganda delivery." <br />
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The Obama poster has spread Fairey's fame, but is the image good for the candidate? Like the photograph-turned-icon of Che Guevara -- which graces the T-shirts of countless hipsters who barely know who the guy is -- Fairey's Obama poster is rooted in the graphic style of agitprop. There's an unequivocal sense of idol worship about the image, a half-artsy, half-creepy genuflection that suggests the subject is (a) a Third World dictator whose rule is enmeshed in a seductive cult of personality; (b) a controversial American figure who's been assassinated; or (c) one of those people from a Warhol silk-screen that you don't recognize but assume to be important in an abstruse way. <br />
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This cannot be the Obama campaign's idea of good public relations, I find myself thinking as I stare at one of the ubiquitous Fairey posters while waiting for my soy chai latte. It's just too bohemian and too vulnerable to misinterpretation, too much the visual equivalent of your parents smelling incense and thinking it must be pot. <br />
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As it turns out, the Obama folks think it works just fine. That even goes for the candidate, who wrote Fairey a letter in February that included the line, "I'm privileged to be a part of your artwork." (A photograph of the letter appears on Fairey's website.) At that time, Fairey had just one "Progress" version of the poster that, despite a run of only 350 copies, had gone viral on the Internet. ("Hope," which was widely distributed as a poster and a sticker, came shortly thereafter.) <br />
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Then the Obama campaign asked Fairey to do another version using the word "Change" and showing the candidate's face from a different angle (in Fairey's own editions, Obama's head is tilted; in the campaign's version, his head is straight, a classic three-quarter portrait). <br />
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When I called Fairey to ask if he worried whether the proselytical style of his work -- not to mention his penchant for self-promotion -- would undermine Obama's campaign, he emphatically said yes. He'd initially shown Obama's likeness wearing a lapel pin that depicted the Andre the Giant graphic, he explained. But when the image began to get traction, he took it off, worried that that alone could be misinterpreted. (The original iteration is still sprinkled around the urban landscape like four-leaf clovers.) <br />
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"I didn't want to hijack his awesomeness," said Fairey, whose enthusiasm for Obama now extends to T-shirts, stickers and a 16-by-30-foot banner on the side of his office building in Echo Park. "As for the propaganda aesthetic, it has been called a communist poster. But people tend to categorize things in a lazy way. The Works Progress Administration that FDR set up used the same aesthetic. They just didn't use the color red. I used red because I intentionally used a derivation of the typical USA political color palette."<br />
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Fairey told me he thinks it's solely his use of red that makes some people uneasy. I'm not so sure. He's an artist; his adoption of propaganda tools -- the graphic style, the underground distribution, and, OK, the color red -- is at least in part ironic, a comment on political-machine communiques, a subversion of them. Although, let's be honest, most people don't look at the world through the meta-tinted glasses that this genre of art requires. They may get a whiff of critique, but what if they get a stronger whiff of something they can't quite identify? And what if that confusion leads to some form of heebie-jeebies when it comes to Obama?<br />
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Still, the most radical aspect of this whole phenomenon is not the artwork itself but how it conveys Obama's sharp divergence from the generic, easily digestible cultural coding that's always been associated with getting elected. As Fairey says, Obama has "radical cachet." <br />
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But if you like Obama and you'd like to see him elected president, it's worth asking yourself exactly why none of the other candidates has dipped an ironic toe into agitprop, and whether their freedom from images that conjure mass idol worship, however archly, might not help them in the end. <br />
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On the other hand, have you seen Marc Jacobs' Hillary Clinton T-shirt, which depicts a frighteningly perky Clinton in a pearl necklace and American flag pin? It's all commodity. As a result, no one's commenting. At least Obama knows a conversation piece when he sees one. <br />
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meghandaum@latimescolumnists.com<br />
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From the [http://www.latimes.com/entertainment/news/arts/la-et-streetart23-2008aug23,0,1939831.story ''Los Angeles Times'', August 23, 2008]:<br />
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'''Graffiti art takes presidential race to the streets'''<br />
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''POSTER BOY FOR ‘HOPE’: L.A.-based artist Shepard Fairey created the now-ubiquitous graphic of Obama, who wrote to him, “Your images have a profound effect on people.”''<br />
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''By Kate Linthicum, Los Angeles Times Staff Writer, photograph by Jay L. Clendenin, Los Angeles Times''<br />
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August 23, 2008<br />
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ON A brick wall in downtown Atlanta that usually is splattered with graffiti tag names, a spray-paint portrait of Barack Obama now gazes over the streetscape.<br />
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In Chicago, an abandoned warehouse on the city's South Side displays a life-size silhouette of the Illinois senator, microphone in hand.<br />
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And all over Los Angeles -- on stop signs, underpasses, buildings and billboards -- hundreds of posters and stickers of Obama, emblazoned with the word "Hope," have been slapped up, guerrilla-style.<br />
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This year, some of the most arresting images in the race for the White House are not the work of ad agencies, political consultants or photojournalists but of a subculture of artists who use the streets as their canvas. Their pro-Obama work -- there is no similar phenomenon for John McCain -- has been spotted everywhere, even Paris and Beijing.<br />
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It's an odd twist in the world of street art, an arena where creative renegades question power and convention with their homemade posters and hand-painted murals -- and don't usually endorse major party politicians.<br />
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"It's not cool with the sort of rebellious, punk, street-artist types to support something that is seen as a part of the system," said Shepard Fairey, the Los Angeles-based street artist responsible for the "Hope" posters and stickers.<br />
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Coming together<br />
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Yet when it comes to Obama, street artists around the country are falling into line. "Obama's a rock star, he's got a great brand and he's a very sexy candidate," explained Ian Bourland, a University of Chicago graduate student who is one of the few academics studying recent street art. "It's his race, his politics and his charisma."<br />
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Street artists embrace the presumptive Democratic presidential nominee's experience as a community organizer, in part because they view their own movement as similarly grass-roots. "He's perceived as sharing their ethos," Bourland said.<br />
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Fairey and Chicago artist Ray Noland plan to be in Denver next week for the Democratic National Convention. Noland will be hawking his paintings and posters and Fairey will be there as a judge in the Manifest Hope Gallery Contest, a national art competition he is sponsoring with MoveOn.org. Artists from around the country were asked to submit work about Obama or centered around the themes of hope, progress, change, patriotism or unity. The best works will be displayed at the Manifest Hope Gallery, which will be set up in downtown Denver.<br />
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Controversial approach<br />
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Street art -- regarded as creative, non-gang graffiti by its admirers and as vandalism by its detractors -- evolved in part out of the do-it-yourself punk movement of the 1980s.<br />
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Current targets of its rebellious edge include the Iraq war and gentrification, along with old enemies such as capitalism. "It's pretty unusual to find things that street artists and graffiti artists are in support of," said Joe Austin, a University of Wisconsin history professor who studies youth movements.<br />
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Still, street artists such as San Francisco's Eddie (he asked that his last name not be used for fear of legal retribution) are enthusiastic about Obama, and they say they are expressing their sentiments in the vocabulary they know best.<br />
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"I could go and volunteer at the campaign and make calls, but that's probably not the best use of my skill set," said Eddie, who has plastered the Bay Area with red-and-black posters that feature a close-up of the candidate's face. "Street art is what I do."<br />
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Noland, 35, also a freelance graphic designer, makes Obama posters filled with basketball imagery to appeal to urban youth. In one, a smiling Obama clutches a red, white and blue basketball and stands beside the slogan "Obama got next" -- a play off the lingo basketball players use to claim a court.<br />
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Noland became interested in Obama while reading his 1995 autobiography, "Dreams From My Father." "I thought, 'This guy has got it all. He's got the pedigree. He's gone to Harvard, but he's also connected to the community, to the neighborhood,' " Noland said. "He also plays ball!"<br />
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His art is, Noland said, "a conscious effort to position Obama in a certain way, to position him as cool and to position him as hip."<br />
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Noland first sold his posters to friends. Then, just before the Illinois Democratic primary, he rented a storefront and made it a temporary art gallery, where he marketed his screen-printed Obama posters and paintings. He eventually packed the pictures into his Subaru and took his work on the road. Noland set up shop in Pennsylvania, North Carolina and Oregon for those states' primaries.<br />
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In North Carolina, Noland was surprised by a visit from Obama and his wife, Michelle, who "spent all of this time just gazing at the images," Noland said. "I think he was overwhelmed at seeing all of this work with his face all around." But, Noland said, Obama told him to keep up the good work.<br />
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Not in lock step<br />
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The pro-Obama street art movement has its detractors. Other artists have defaced the Obama work, and one blogger attacked Noland for depicting Obama "as a Messiah figure."<br />
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Noland said he understands the critique -- in one of his early images, Obama seems to be emanating gold rays of light -- and he has toned down his recent work. Other critics have dismissed Fairey's Obama "Hope" image, an idealized portrait of Obama gazing toward the sky, as no more than propaganda.<br />
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Fairey, 38, admits that his design was inspired in part by Soviet propaganda posters, but he insists that it is meant to provoke, not indoctrinate.<br />
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Before the Obama poster, Fairey was known internationally for his anti-authoritarian "Obey Giant" sticker campaign, which he launched in the late 1980s while studying at the Rhode Island School of Design. For the project, Fairey and his friends distributed stickers and posters featuring André the Giant, a French wrestler, many of which were stamped with the word "Obey."<br />
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Since then, Fairey, who moved to L.A. in 2002, has launched projects including a clothing company, a magazine and a commercial design business. He runs the art gallery Subliminal Projects in Echo Park, DJs at dance parties and has been featured in numerous documentary films. But he says street art is his first love. When he talks about it, he adopts the sober vocabulary of an art historian and runs his paint-stained fingers through his graying blond hair.<br />
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Fairey got on board with Obama in 2004, when he watched the senator's televised speech at the Democratic National Convention. "I was so impressed," he recalled. "I thought to myself, 'This is someone to watch.' "<br />
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He liked Obama's emphasis on the environment and his commitment to curbing lobbyists' power. So in January of this year, just as the primary season was heating up, he drew up the design for the "Hope" poster. He has distributed more than 80,000 of them and made a downloadable version available free on his website.<br />
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Fairey, who has been arrested multiple times for trespassing and vandalism while putting up his guerrilla art, was worried that Obama's campaign might not want to be associated with street art.<br />
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"When you look at how the general public looks at [street art], they're scared of it," he says. "They associate it with gang bangers and anarchists."<br />
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Yet in February, Fairey received a letter signed by Obama that thanked the artist for his support and declared, "The political messages involved in your work have encouraged Americans to believe they can help change the status quo. Your images have a profound effect on people, whether seen in a gallery or on a stop sign."<br />
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(An Obama spokesman added that the campaign hopes artists respect the law and their communities when putting up their art.)<br />
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Fairey also was asked to donate an official "Hope" campaign poster, which is being sold on Obama's website.<br />
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And with that, the renegade went mainstream.<br />
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kate.linthicum@latimes.com<br />
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{{copyright}}</div>Admonkeyhttps://www.thegiant.org/wiki/index.php/File:Latimesaug23.jpgFile:Latimesaug23.jpg2008-08-25T12:49:24Z<p>Admonkey: </p>
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