Shok-1

Shok-1 Graffiti Show Poster "X-Rainbow" Solo Show Dec. 5th - 19th

2013

Frank Shepard Fairey was born February 15, 1970 in Charleston, South Carolina, USA. Fairey's adolescence was shaped by the influences of punk-rock and skateboarding. In his teens, he began creating his own bootlegged clothing and skateboard decals featuring bands and brands he liked. Fairey’s early bootlegs were created because his generally conservative parents would not purchase the clothing he wanted. In 1986, he stumbled upon the Andre the Giant image for which he has become famous for, in a local newspaper. The image was selected when Fairey demonstrated to a friend how to make a stencil; it was modified slightly to include the meaningless caption “Andre the Giant has a Posse” and made into a sticker. The sticker was reproduced en masse and began to appear around Charleston as it spread through the skateboarding community. While the sticker had no inherent meaning, the public response varied from disregard to curiosity to out-right fear. Civic groups editorialized and theorized that the Andre image was affiliated with everything from a band to a hate group. Nevertheless, the stickers were considered vandalism and in time, Fairey would face numerous charges for defacing public property. Fairey's record includes 15 arrests as of March 2009, for defacing property as a result of his so called bombing campaigns. Fairey affixed the stickers on municipal properties nearly everywhere he went, and the Andre sticker was being seen in Boston and New York City, soon others procured the image and were encouraged to spread the campaign worldwide in the form of stickers, stencils and wheat-paste posters. Following high school, Fairey was accepted to the Rhode Island School of Design (RISD), where, with an interest in screen printing, he majored in illustration. In 1992, while still attending RISD, Fairey started Alternate Graphics, a mail order catalog business through which he could merchandise his own t-shirts, skateboards, posters and stickers. He also took small commercial illustration jobs to help supplement his income. Shortly thereafter, the Andre the Giant Has a Posse logo was shortened simply to Obey Giant. The Obey, for which Fairey has also become synonymous, is derived from the 1988 John Carpenter film They Live. In the film, aliens who appear as human, rule the governments and economies of the world while the humans are reduced to an unwitting, hypnotized slave-class. Themes from the film continue to appear in Fairey’s work. Over time, the Andre the Giant face was modified into a more simplified and streamlined appearance, reminiscent of Russian Constructivist/Rodchenko style Soviet propaganda posters of the 20th Century. In 1994, filmmaker Helen Stickler featured Fairey and his sticker phenomenon in her documentary: Andre the Giant has a Posse. The following year, Fairey started Subliminal Projects with the late Blaize Blouin, his friend and pro-skateboarder. Subliminal Projects created and released several Obey-Giant themed posters and skateboard decks. Fairey directed a short skateboarding film featuring some of his friends through Subliminal Projects and Alternate Graphics titled A.D.D.(Attention Deficit Disorder). In 1996, Fairey moved to San Diego, California to create Giant Distribution with partner Andy Howell. Later, with Howell, Phillip De Wolff, Dave Kinsey, he formed First Bureau of Imagery (FBI), a branding, marketing and design firm established to focus on the increasingly lucrative sports market. FBI was closed in 1999 and Fairey, along with De Wolff and Kinsey created BLK/MRKT, similar to FBI. At this time, Fairey met and began working with Amanda Alaya, whom he would later marry. BLK/MRKT moved to Los Angeles in 2001. Here, they could expand and were able to incorporate a small gallery. Fairey and Kinsey eventually bought out De Wolff’s share of the partnership and by then had set up offices in the Pellissier Building (home of the historic Wiltern Theater), in the Koreatown section of Downtown Los Angeles. In December 2001, Fairey and Alaya were married in Charleston, South Carolina, Amanda has occasionally been the model for Fairey's prints (see: Commanda, 2007). Additionally, Amanda Fairey works in the capacity as publicist, agent and representative of her husband. In 2003, Kinsey and Fairey split. Kinsey retained the BLK/MRKT name and gallery, which he relocated to Culver City, California. Fairey retained the offices and most of the employees to create Studio Number One and the gallery was renamed Subliminal Projects. Studio No. 1 has since gone on to produce numerous memorable album covers, concert and film posters. In 2004, Fairey created the magazine Swindle with his old friend Roger Gastman. Swindle is a quarterly publication that features fashion, art, music and other pop-culture elements. During the 2004 presidential election, Fairey teamed up with artists Mear One...

'Banksy vs. Bristol Museum: Copper's ' by Banksy, 2009 Original promotional poster for the artist's show, from a set of 4. 16.5 x 23.5 Inches Offset lithograph on white satin poster ...

This skateboard deck is the perfect addition to any urban art collection. Featuring a bold graffiti design by renowned artist Dash Snow, this deck is sure to stand out on the streets...

Manufacturer: Obey Giant Edition Details: Year: 2022 Class: Diptych Set Technique: Screen Print Paper: Fine Art Thick Cream Speckletone Size: 18 X 24 Markings: Signed & Numbered by ...

These images are inspired by Vietnam War protesters who would put flowers in the gun barrels of the National Guard who were brought in to suppress ...

"Marley was sometimes fiery, sometimes joyful, sometimes contemplative, but always visionary and poetic. I love this intimate, thoughtful moment Dennis captured and I’m honored to tr...

This etching is from my private collection of 20th Century School of Paris era artists. The etching is original , signed and numbered by the artist. Guilde de la Gravure.

Supernova 2, 2017 "The sunflowers displayed here have been chosen, not only because of their golden individuality, but also because, like gold, they seem to have an everlasting quality. They don't readily wither and die but remain timelessly viable; their dazzling petals slowly becoming bronzed and desiccated, their statuesque form, elegantly contorted." Valda Bailey...

Still life 1986. 1/21. Paper, etching, aquatint, 31x40 cm Ivars Poikans 1952. Riga Ivars Poikāns works in painting, graphics, book illustration, cinema art. Born on October 24, 19...

sisterhood , 70x70cm, print on canvas

sisterhood , 70x70cm, print on canvas

sisterhood , 70x70cm, print on canvas