Shepard „Obey Giant“ Fairey hat sein Ataturk-Stencil als PDF online gestellt:
Turkey has been one of the more progressive countries in the Middle East for years, but seems to be moving in a more oppressive direction recently. A few years ago I made an image of Ataturk at the request of a Turkish friend. Ataturk was a champion of Turkish Democracy and secular government. I am offering a free download of my Ataturk image as a symbol of democracy and free speech. […]
The overall issue is that the current Prime Minister Recep Tayyip Erdogan and his government have come too far towards authoritarianism, dictatorship and fascism, and farther away from Ataturk’s founding and modern society’s democratic and secular principles. Including plans to demolish Ataturk Cultural Centre. It is not a political or religious movement, it is a human rights movement representing all corners of their society.
Shepard „Obey Giant“ Fairey hat den neuen Aufnäher der ISS-Mission Casis gestaltet. Und ich meine darin einen seiner stilisierten André the Giant-Formen zu sehen und hab’ das im Bild rechts mal zusammengeklickt. Wahrscheinlich ist das Unsinn, aber sagen wir’s mal so:
Wenn ich Fairey wäre und das hier sehr wahrscheinlich meine einzige Möglichkeit bleiben würde, in meinem Leben etwas von mir ins All zu schicken und ich hätte so ein prägnantes Markenzeichen und käme aus der Streetart, wo ein nicht unerheblicher Teil der Arbeit darin besteht, Wände zu malen und mein Tag zu verbreiten – ich würde mein Tag/Logo/Icon selbstverständlich irgendwie da unterbringen. Aber wahrscheinlich ist das Unsinn, na klar. Winkwinknudgenudge.
Jedenfalls hat Shepard „Obey Giant“ Fairey den neuen Aufnäher der ISS-Mission Casis gestaltet und ist damit wahrscheinlich der erste moderne Streetartist mit Kunst im All. Vor ihm hat allerdings jemand namens Frosty Myers ein Mini-Museum mit sechs Zeichnungen auf den Mond geschickt, unter anderem einen Pimmel von Andy Warhol.
The most recent addition to the long history of space mission crew patches was announced this past weekend live on stage from the Engadget Expand event in San Francisco, CA with artwork designed by Shepard Fairey (Obey Giant, Studio Number One, Obama Hope). The crew patch artwork will mark the inaugural CASIS-managed flight to the International Space Station. CASIS (Center for the Advancement of Science in Space) is the non-profit entity setup by Congress to promote and broker research onboard the International Space Station, U.S. National Laboratory.
Named ARK1 (Advancing Research Knowledge), the September 2013 through March 2014 flight plans will be the the start of many CASIS managed flights to the ISS.
Redditor Juririm war Shepard Faireys Obama-Poster zu Halloween. Und ich frage mich, warum man da noch nicht früher draufgekommen ist.
Shepard „Obey Giant“ Fairey hat das ikonographische „Tongue & Lips“-Logo der Stones anlässlich ihres 50sten Jubiläums remixt. Das Logo wird ständig mit dem angeblichen Original von John Pasche verglichen, ursprünglich stammt das Logo allerdings von Ernie Cefalu, dessen Version man sich hier ansehen kann. Daraus leitete Pasche seine Iteration ab (unten links, dafür bekam er damals als Student 50 Dollar, den Originalentwurf verkaufte er 2008 für $92.500), die er für das finale, auf „Sticky Fingers“ benutzte Artwork (unten rechts) überarbeitete.
Der Originalentwurf von Pasche ist super, seine eigene Überarbeitung damals war ein ziemlicher Rückschritt: Der linke Glanzstreifen auf der Zunge ist unnötig, der schatten auf der Zunge ist unsauber, die Rechte Kontur ist unsauber und sieht komisch aus, die Strichstärken passen nicht zusammen, der Schatten unter den Zähnen ist falsch. Faireys Entwurf schlägt nicht Pasches Original-Zunge, ist aber eine kleine Verbesserung im Gegensatz zur auf „Sticky Fingers“ verwendeten Version, dafür ist die Typo allerdings etwas wackelig, wobei ich die Idee der 5 und 0 als S und O gut finde, hat was von 1337-Speak: 5T0NES. Kann man machen.
The Rolling Stones unveiled their 50th Anniversary logo this week, and though its designer, Shepard Fairey, has collaborated with Mick Jagger before (on the album art for last year’s SuperHeavy LP), he admits that he was still “overwhelmed” by Jagger’s request that he retool the band’s famed lips-and-tongue logo.
We asked Fairey to share his thoughts on the collaboration with Rolling Stone. Here is his full response:
I’ve been a big fan of the Rolling Stones since my dad introduced me to “Satisfaction.” Tattoo You is one of the earliest albums I bought with my own money and I studied the album package obsessively … you may notice how its color scheme and iconic art could have inspired me? The Rolling Stones have had a lot of great art over the decades, but nothing can top their tongue logo, originally created by John Pasche in 1971. In my opinion, the Stones’ tongue logo is the most iconic, potent and enduring logo in rock & roll history. I think the logo not only captures Mick Jagger’s signature lips and tongue, but also the essence of rebellion and sexuality that is the allure of all rock & roll at its finest.
Julian Marshall hat einen Film über Shepard “Obey Giant” Faireys Anfänge gedreht und finaziert sich die Post-Production jetzt über Kickstarter. Snip:
I recently directed a short narrative film about the early life of Shepard Fairey and the origin story of his OBEY GIANT street art campaign. The film is set in Providence, RI, in 1990 when Shepard was studying illustration at RISD. In an illustration class, titled Style and Substance, Shepard received a historic assignment that would later establish his legacy in Providence. Each student in the class was given a fortune cookie, and tasked with illustrating his or her respective fortune. Shepard’s fortune read: TO AFFECT THE QUALITY OF THE DAY IS NO SMALL ACHIEVEMENT. He then decided to paste his Andre graphic over the face of notorious then-Mayor of Providence, Buddy Cianci, on his re-election billboard, located in the heart of the city. [...]
Based on the true story of Shepard Fairey’s first act of street art, OBEY THE GIANT tells the story of a young skate punk challenging a big-city mayor and the powers-that-be at art school. Frustrated by his inability to gain respect within the confines of art school Shepard sets out to gain notoriety and acclaim by targeting the most powerful man in Providence, former Mayor Buddy Cianci. Risking expulsion and jail time Shepard plasters Andre the Giant’s face over the image of Cianci on a campaign billboard. As word of Shepard’s prank gets out, Shepard learns that art is a weapon and attention is both a blessing and a curse.
Das Time Magazine hat gestern ihre Person des Jahres vorgestellt: Der Protester. Schöne Geste in Richtung des arabischen Frühlings und dem Occupy-Movement. Das erste Mal, dass das Time Magazine übrigens sowas wie eine anonyme Masse zur Person des Jahres wählte, war 1950 „The american Fighter“ wegen des Kriegs in Korea, zuletzt war es 2006 „You“. Hier die Seite des Time-Mags zur Masse des Jahres, hier ein kleines Interview mit Shepard Fairey, der das Cover gestaltete.
The Protester, Fairey says his cover image is based on a composite of 26 different photographs of real protests from around the world. “These organic protest movements have arisen around the globe and a lot of it was fueled by social media, but it was a pervasive phenomenon,” he said. “It wasn’t one specific movement but general unrest. I wanted to look for ideas to represent that.”
Shepard Fairey hat sein Hope-Poster von der Obama-Kampagne 2008 für Occupy Wallstreet aktualisiert. Nette Bemerkung am Ende seines Postings dazu: „I’m still trying to work out copyright issues I may face with this image“ in Anspielung auf den Copyright-Rechtsstreit mit AP damals. Auch schön: Jemand hat die Bank of Amerika ziemlich subtil verschönert und Alexis Madrigal hat beim Atlantic einen tollen Artikel: A Guide to the Occupy Wall Street API, Or Why the Nerdiest Way to Think About OWS Is So Useful.
The most fascinating thing about Occupy Wall Street is the way that the protests have spread from Zuccotti Park to real and virtual spaces across the globe. Metastatic, the protests have an organizational coherence that’s surprising for a movement with few actual leaders and almost no official institutions. Much of that can be traced to how Occupy Wall Street has functioned in catalyzing other protests. Local organizers can choose from the menu of options modeled in Zuccotti, and adapt them for local use. Occupy Wall Street was designed to be mined and recombined, not simply copied.
This idea crystallized for me yesterday when Jonathan Glick, a long-time digital journalist, tweeted, “I think #OWS was working better as an API than a destination site anyway.”
Nette Minidoku über Shepard „Obey Giant“ Faireys Trip nach Kopenhagen, oben der erste Teil, die anderen Videos nach dem Klick. Schön auch, dass er die Kontroverse um das Jugendhaus 69 zeigt, in deren Folge er nach der Vernissage seiner Ausstellung angegriffen wurde, dazu hatte er vor ein paar Wochen bereits ein Posting gebracht:
The opening was incredibly positive, and the after-party was a blast. A punk band played, Romeo Trinidad from Obey Clothing and I DJ’ed, and Trentmoller played an awesome set. On the way out, a kid, maybe 19 or 20 started yelling at me “Obama illuminati, fuck you, go back to America”. It was more obnoxious than intimidating, so I stopped to talk to him. I unthreateningly asked him why he was saying that stuff to me, and what his problem with me was. He just said “YOU HAVE THE PROBLEM” and did the chest shove every visitor to a playground has experienced. Then as he raised his fists I was clocked from the side by someone I never saw. The next thing you know I’m being attacked by at least 3 guys and Romeo jumps in to help me. It was crowded, and people tried to pull everyone apart which somehow left Romeo being ganged up on by a couple guys, so I had to jump back in to help him, while I was being punched and kneed by people behind me.
They quickly ran off , and it seemed that things were over except for my wife freaking out across the parking lot. I was wrong, somehow the attackers had snuck back through the crowd and I caught a punch in the eye out of nowhere as I turned to see Romeo pushed against a wall being punched and kneed in the back. I tried to help him again, and after brief retaliation the attackers fled again.
They did not come back this time. After collecting my breath and DJ equipment, the cops showed up, and I reflected on the fact that this was an ambush, not a random act. I did not bother filling out a police report because I did not know any of the people, or get a great look at them, so it seemed pointless. I’m not a huge fan of the cops generally anyway.
Shepard Fairey hat schicke Prints seines Posters zur kommenden Doku „God bless Ozzy Osbourne“, die morgen auf DVD erscheint. Hier der Trailer:
GOD BLESS OZZY OSBOURNE is an unrivalled look into the mind of legendary rock icon Ozzy Osbourne. Shot over the course of three years, audiences will experience the life story of Ozzy, as seen through the eyes of his youngest child, Jack Osbourne, who worked alongside directors Mike Fleiss and Mike Piscitelli.
During the documentary, Ozzy will recount his troubled youth, his early career with Black Sabbath and the impact of fame and addictions on his first marriage. Viewers will also witness the second chapter of his life as a family man with Sharon, during which his addictions grew to a frightening level, as well as hear Ozzy and his children explain his attempts at staying clean, ultimately resulting in more than five years of sobriety. Music fans will also see live performances from around the world, including rare behind the scenes clips of Ozzy on and off stage, in his dressing rooms pre-show, to his nights in a series of hotel rooms. Throughout GOD BLESS OZZY OSBOURNE, audiences are given an inside look into the life of a rock star, from the good times to the bad.
Amazon-Partnerlink: Ozzy Osbourn – God Bless Ozzy Osbourne
Art as a weapon will look at the power of creativity for social change, by using the fight for Democracy in Burma as a case study. Giving the audience a peek into the creative movement that is happening on the Thai/Burma boarder by young Burmese refugees- A Buddhist monk poet, a Burmese punk band and a political street artist will show us- that out of great struggle comes great creativity.
Art as a Weapon is a feature documentary that will also investigate the dialogue between the people of Burma’s fight for democracy and the western artists who respond by supporting their struggle through art. This will be a “connections film” which looks at the overlap between the big forces that shape humanity- Art, Politics and Religion in both the eastern and western worlds. By combining beautiful cinematography, clean graphic design, Buddhist philosophy, emotional interviews and Art that carries a message, the project will illustrate the power of art in a modern-day revolution. Part art film, part political film, the goal is to continue spreading the word by using art as a weapon for peace in Burma.
Shepard „Obey Giant“ Fairey hatte von März bis April eine Ausstellung seiner Cover-Artworks laufen und die Arbeiten daraus gibt’s jetzt als Prints in zwei superlimitierten Box-Sets für nur 950$ pro Stück. Und weil sich das keiner leisten kann, hat er alle Artworks in okayer Auflösung online gestellt: Party At The Moontower Box Set, Dance Floor Riot Box Set, hier mehr Infos zu den Sets, Hypebeast hat ein paar Bilder aus der Ausstellung.
Long before I knew about art galleries or even street art, I was excited about album cover art, if only because it was the visual counterpart to the music on the records I loved. Album covers conjured a euphoric association with the listening experience. Most of my earliest home-made tee shirts were stencils based on punk album covers… No matter how much I love art, or try to convince myself of its relevance in society, the fact remains that music is a lot cooler and way more able to reach people’s hearts and minds… but I’m a populist and I look at it this way: I may not play an instrument, but I’m gonna rock it hard as nails anyway. With my art I try to capture the same energy and spirit that makes music so powerful and democratic. REVOLUTIONS is a celebration of all the great music and accompanying art that has inspired me over the years.
Wer sonst sollte ein Poster für John Carpenters „They Live“ machen, wenn nicht Shepard „Obey Giant“ Fairey. Ist heute irgendwann innerhalb von Sekunden im Shop von Mondotees ausverkauft. Von Wired: You Will Obey Shepard Fairey’s They Live Poster
Fairey credits They Live as a “major source of inspiraton” for his own subversive brand of street art. “They Live was … the basis for my use of the word ‘obey,’” Fairey said in a statement. “The movie has a very strong message about the power of commercialism and the way that people are manipulated by advertising.”
Describing his 2003 exhibition, This Is Your God, Fairey noted: “One of my main concepts with the show, and the [Obey] campaign as a whole, was that obedience is the most valuable currency. People rarely consider how much power they sacrifice by blindly following a self-serving corporation’s marketing agenda, and how their spending habits reflect the direction in which they choose to transfer power.” They Live addresses those same issues, Fairey said.
Fairey postete noch dazu vor ein paar Stunden seine neue Posterserie „Reagan and Friends“:
A lot of people are frustrated with the economy and are blaming Obama for the slow recovery. Obama inherited the results of 30 years of mostly bad legislation that created the perfect storm for the financial meltdown of 2008. I am releasing a new series of prints inspired by the big lie the right wing is trying to sell… that deregulating and giving tax breaks to corporations and the wealthiest individuals will stimulate economic growth. Thanks to the Supreme Court, these powerful corporations can now finance campaigns and ads in the shadows.
It all started to go wrong with Reagan. Every president leaves a legacy, but in my opinion none have left a legacy so skewed by rosy nostalgia, and so damaging to this day, as Ronald Reagan. Reagan was pro-big business and anti-working class and anti-union (he fired all of the striking air traffic controllers). His economic policies known as Reaganomics collectively led not only to the buildup of a massive budget deficit, thanks to large increases in military spending coupled with huge tax cuts, but also laid the groundwork for an economic crisis. If it all ended in 1989 when he left office it would have been bad enough, but Republicans were so enamored with Reagan and Reaganomics that they tried it again under George W. Bush, with similarly disastrous consequences.
Skateistan versteigert grade über ihr Büro in Dänemark zusammen mit dem Auktionshaus Lauritz ein paar von Künstlern gestaltete Skatedecks, alle Erlöse gehen an die Skateschule für Kids in Afghanistan. Oben das Deck von Shepard Fairey, von Obey Giant:
Skateistan is a school in Kabul where about 400 kids, boys and girls, “rich” and poor – skate on a daily basis and learn things like photography, carpentry, drama, English and much much more.
The school was established in 2008 and built a professional indoor skateboard park in 2009 – with the help of the fundraisers in Denmark.
Now in 2011 we are collecting money so that Skateistan can expand and build an outdoor facility for the kids so they can skate even when the school is not open.
ALL income from this auction goes directly to Skateistan in Kabul – all fees and commissions also (Donated by the auction house Lauritz.com) Skateistan Denmark is run 100% volunter, we have no paid staff, skateboards and shipping is sponsored by BLIND skateboards and Blue Water Shipping – so if you spend 1000 Dollars on one of theese works of art – 1000 Dollars will go to Skateistan.
Vorher auf Nerdcore:
Minidoku über Skateistan: To Live And Skate Kabul
Graffiti-Sk8decks for Skateistan
Skateistan on the Radio
Skateistan – The Movie (plus: Photography by Noah Abrams)
Skate-Schule in Afghanistan – Banner-Designcontest
Introducing the American artist Shepard Fairey is a bit like explaining whose portrait he famously altered for the “Hope” campaign that was widely used by Barack Obama’s supporters in 2008. Since the mid 1980s he has created outstanding (then: street) art that is strong, iconic and expressive. Shepard Fairey is also a thoughtful, committed, and outspoken activist who revives the artistic virtues of standing up for the freedom of speech and fighting for rational and non-corporate ways of dealing with the issue of copyright. Obey the interview we did with him in Los Angeles in late 2010!
Shepard „Obey Giant“ Fairey hat einen sehr schönen neuen Print mit John Lennon und Yoko Ono am Start. Gibts ab Morgen in seinem Shop.
Derzeit wird ja eine Ex-Toilette von John Lennon versteigert, war mir aber kein Posting wert, weil das ganze nicht wirklich seine Toilette war, sondern er hatte das Ding nur bestellt und dann beim Produzenten als Pflanzenpott unterstellen lassen. Hat jetzt aber auch eher wenig mit dem Print von Fairey zu tun. Macht aber nix, weil: Give peace a chance.