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Shepard Fairey, 'Kiss Me Deadly' 2007, Signed and Numbered
About the Item
Shepard Fairey (American, born 1970), 'Kiss Me Deadly' 2007. Signed and numbered edition 142 of 300 by the artist in pencil.
A major figure of the contemporary street art movement, Shepard Fairey rose to prominence in the early 1990s with his “Andre the Giant Has a Posse” campaign, which distributed posters, stickers, and murals featuring the eponymous wrestler around Providence, Rhode Island. Fairey’s iconic 2008 “Hope” campaign poster for President Barack Obama encapsulates a number of the artist’s recurring concerns, including propaganda, portraiture, and political power. Fairey’s work, which has sold for six figures at auction, can be found in the collections of the Museum of Modern Art in New York, the Victoria and Albert Museum in London, and the National Portrait Gallery in Washington, D.C.
This print will be removed from the frame and shipped in a tube, unless specifically requested that it remains framed. Shipping framed will incur a higher cost and we believe the amount saved by shipping in a tube will be equal to the cost of having it newly re-framed in your location.
- Creator:Shepard Fairey (Artist)
- Dimensions:Height: 30.71 in (78 cm)Width: 24.22 in (61.5 cm)Depth: 1.19 in (3 cm)
- Style:Modern (Of the Period)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:2007
- Condition:Wear consistent with age and use.
- Seller Location:London, GB
- Reference Number:1stDibs: LU7049229523812
Shepard Fairey
Expanding on the legacies of artists such as Keith Haring and Andy Warhol, Shepard Fairey’s practice disrupts the distinction between fine and commercial art.
A major artist of the street art movement, Fairey rose to prominence in the early 1990s through the dispersion of prints, posters, stickers and murals, related to his Obey Giant campaign, which yielded an international cultural phenomenon. Fairey’s iconic poster of President Barack Obama was adopted as the official emblem associated with the presidential campaign and encapsulates a number of recurring concerns in the artist’s work, including propaganda, portraiture and political power.
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