Utah - Art

Banksy "CUT AND RUN" Technique: Offset Lithograph Paper: Thick Stock Glossy Size: 16.5 X 23.4 Materials Thick glossy paper Size 23 2/5 × 16 1/2 in 59.4 × 41.9 cm Rarity Open editi...

First Print: Banksy "CUT AND RUN" Technique: Offset Lithograph Paper: Thick Stock Glossy Size: 16.5 X 23.4 Materials Thick glossy paper Size 23 2/5 × 16 1/2 in 59.4 × 41.9 cm Rarit...

Edition Details Year: 2017 Class: Art Print Status: Official Released: 10/10/17 Run: 450 Technique: Letterpress Paper: Cream cotton paper Size: 10 X 13 Markings: Signed & Numbered Embossed Paper / Silkscreen / Graffiti and Street Art...

"Fairly self-explanatory, but I’ll share my thoughts. Our planet Earth is often called 'Mother Earth' for reasons that seem obvious to me. Mothers are often the primary caregivers fo...

This screen print, “A Cracked Icon,” is a reference to one of my favorite musicians, David Bowie, and his song “Cracked Actor.” I’m fascinated by how we process fragmentation and mut...

I started my sticker campaign in 1989 and I continue to value the power of a small but mighty source of disruption and expression. When I was younger and had few resources my strateg...

NICHOLAS WILTON’s paintings are visual poems, informed by Nature and his personal experience of life. Color, texture, and organic forms are layered into a complex visual weave that h...

NICHOLAS WILTON’s paintings are visual poems, informed by Nature and his personal experience of life. Color, texture, and organic forms are layered into a complex visual weave that h...

NICHOLAS WILTON’s paintings are visual poems, informed by Nature and his personal experience of life. Color, texture, and organic forms are layered into a complex visual weave that h...

NICHOLAS WILTON’s paintings are visual poems, informed by Nature and his personal experience of life. Color, texture, and organic forms are layered into a complex visual weave that h...

"The Wall Street Public Enemy print is a critique of the culture of greed and manipulation seen on Wall Street and in the banking system. Lack of oversight from the government that i...

In the early ’90s, I fell in love with ’60s psychedelic posters from artists like San Francisco’s Victor Moscoso, Stanley Mouse, Alton Kelley, and Rick Griffin...

In the early ’90s, I fell in love with ’60s psychedelic posters from artists like San Francisco’s Victor Moscoso, Stanley Mouse, Alton Kelley, and Rick Griffin, as well as LA’s John ...

In the early ’90s, I fell in love with ’60s psychedelic posters from artists like San Francisco’s Victor Moscoso, Stanley Mouse, Alton Kelley, and Rick Griffin...

In the early ’90s, I fell in love with ’60s psychedelic posters from artists like San Francisco’s Victor Moscoso, Stanley Mouse, Alton Kelley, and Rick Griffin...

In the early ’90s, I fell in love with ’60s psychedelic posters from artists like San Francisco’s Victor Moscoso, Stanley Mouse, Alton Kelley, and Rick Griffin...

"In my current work I am involved with various gestural forms along with a variety of abstract language. I am also using the elements and energy of the landscape in some of the paint...

Jennifer Nehrbass is a painter living and working in Albuquerque, New Mexico. She was born in West Bend, Wisconsin in 1970. She received her B.S. in Art and Textile Design from the U...

Gordon Studer’s earthy, confident abstracts are rooted in his discipline as an award-winning commercial illustrator, lending his work a strong, graphic c...

AUDRA WEASER’s abstracted, organic paintings reference those places where rivers or streams may be traversed as well as to mental states of pause or reflection. The paintings themse...

AUDRA WEASER’s abstracted, organic paintings reference those places where rivers or streams may be traversed as well as to mental states of pause or reflection. The paintings themse...

AUDRA WEASER’s abstracted, organic paintings reference those places where rivers or streams may be traversed as well as to mental states of pause or reflection. The paintings themse...

AUDRA WEASER’s abstracted, organic paintings reference those places where rivers or streams may be traversed as well as to mental states of pause or reflection. The paintings themse...

AUDRA WEASER’s abstracted, organic paintings reference those places where rivers or streams may be traversed as well as to mental states of pause or reflection. The paintings themse...

Queen Product, Mr. Brainwash, Red, 2014, Contemporary Street Art, Limited Edition. Beautiful, rare print with deckled edges, hand torn. From an edition of 150. Mr. Brainwash is an ...

Step into the captivating world of Sandra Chevrier with "Dark Heart (2015)," an exquisite aluminum acrylic composite piece that exemplifies the artist's early brilliance. Part of a ...

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 and Robbie Conal to create a series of anti-Bush/anti-war posters for the street-art campaign: Be The Revolution. In 2005, Fairey accepted a residency at the Contemporary Museum in Honolulu, Hawaii, where he created murals and prints that reveal a dramatic combination of constructivist style with distinctly traditional Hawaiian themes and influences. Amanda Fairey gave birth to the couple’s first child, Vivienne in June 2005, she is the namesake of punk fashion legend Vivienne Westwood. Vivienne would be the model for Fairey’s “Vivi La Revolucion” print of 2008. Fairey's street-art, was featured with that of Dan Witz...

These hand signed lithograph prints were only made available to "HOLDERS" of the Currency prints. Less than 1000 were hand signed by Damien Hirst a...

OKLA 2021 Catalog: Limited edition of 100 copies signed by artist Ed Ruscha This fully illustrated catalogue documents the landmark exhibition as installed at Oklahoma Contemporary...

"I’ve made several images over the years addressing police brutality, and I think humor and absurdity help make such a heavy topic more digestible. There is a violent history of poli...

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 poster...

"I have always loved the patina of old toys, wagons, cars. I love the look of time and timelessness. A thing never becomes really beautiful until it is washed by use and attention. I...

“I begin this short essay with my artists’ statement from 1997 because it illustrates my focus on emotion instead of on subject matter starting early on. I approached the idea of writing about what I paint back then with dread and tried to bypass it by being as honest as possible about my process. I’d like to think that I paint anything I want because through paint I can express how I feel. I started training to be an artist in early childhood. I studied texture. I learned about composition. I played with color and observed the beauty of line. My methods were unconventional and invented by me. Many different things inspired me: Cheerios in milk, clouds, hands in food, dry dusty dirt, wet mud puddles, coloring books, fashion photos in the newspaper and my keen need to observe my surroundings. When asked what I wanted to be when I grew up I had no answer. I just wanted to watch, and to observe the world around me. I’ve worked for years on a response to that complicated question “what is the work about?” I’ve developed all kinds of stories that seem to make sense at the time, but I have to ask, “isn’t this the same question as ‘what do you want to be when you grow up?”’ I am drawn to the figure, and to capturing physical expression in all types of situations, but especially when we are on our own. The body carries emotion, and most people are unaware that they reveal something of themselves when observed in private moments. When I was young I realized that I could easily understand the unspoken just by watching. It felt like a strange and isolating gift – and sometimes a curse – and I often felt confused and acted out in anger when the words didn’t match what I saw. But I still recognize all kinds of emotion there, and whether what I see is true or not, I relish the vulnerability of the moment. Color is another important tool for me. It’s a self-taught endeavor and one that I explore daily. Color mixing is similar to building flavors in a soup. A soup with just salt is watery and uninteresting. As in cooking, I pay close attention from the first layers what each color feels like in terms of its value, whether it’s warm or cool, and how it fits the composition. I am looking for something that feels harmonious with my nervous system. I begin with abstract shapes, then ask, “Is this shape interesting? Does this color work next to that one? Is it too strong? Is it helpful to the overall composition?” The more complex the mix, the more likely it is to hold my attention, and allow me to linger. Those puddles of paint sitting on my six foot glass palette...

My inspiration is drawn from modern architecture and minimalism. In my work, I juxtapose layers of paper with acrylic paint and a layer of thinly hand-cut paper strips insinuating th...

Gordon Studer’s earthy, confident abstracts are rooted in his discipline as an award-winning commercial illustrator, lending his work a strong, graphic c...

Gordon Studer’s earthy, confident abstracts are rooted in his discipline as an award-winning commercial illustrator, lending his work a strong, graphic c...

My inspiration is drawn from modern architecture and minimalism. In my work, I juxtapose layers of paper with acrylic paint and a layer of thinly hand-cut paper strips insinuating th...

“I begin this short essay with my artists’ statement from 1997 because it illustrates my focus on emotion instead of on subject matter starting early on. I approached the idea of writing about what I paint back then with dread and tried to bypass it by being as honest as possible about my process. I’d like to think that I paint anything I want because through paint I can express how I feel. I started training to be an artist in early childhood. I studied texture. I learned about composition. I played with color and observed the beauty of line. My methods were unconventional and invented by me. Many different things inspired me: Cheerios in milk, clouds, hands in food, dry dusty dirt, wet mud puddles, coloring books, fashion photos in the newspaper and my keen need to observe my surroundings. When asked what I wanted to be when I grew up I had no answer. I just wanted to watch, and to observe the world around me. I’ve worked for years on a response to that complicated question “what is the work about?” I’ve developed all kinds of stories that seem to make sense at the time, but I have to ask, “isn’t this the same question as ‘what do you want to be when you grow up?”’ I am drawn to the figure, and to capturing physical expression in all types of situations, but especially when we are on our own. The body carries emotion, and most people are unaware that they reveal something of themselves when observed in private moments. When I was young I realized that I could easily understand the unspoken just by watching. It felt like a strange and isolating gift – and sometimes a curse – and I often felt confused and acted out in anger when the words didn’t match what I saw. But I still recognize all kinds of emotion there, and whether what I see is true or not, I relish the vulnerability of the moment. Color is another important tool for me. It’s a self-taught endeavor and one that I explore daily. Color mixing is similar to building flavors in a soup. A soup with just salt is watery and uninteresting. As in cooking, I pay close attention from the first layers what each color feels like in terms of its value, whether it’s warm or cool, and how it fits the composition. I am looking for something that feels harmonious with my nervous system. I begin with abstract shapes, then ask, “Is this shape interesting? Does this color work next to that one? Is it too strong? Is it helpful to the overall composition?” The more complex the mix, the more likely it is to hold my attention, and allow me to linger. Those puddles of paint sitting on my six foot glass palette...

"White House, Blue Roof" by Kathleen Peterson, oil, 18 X 18 inches Kathleen Peterson was born the third child of a third child to school teacher par...

Photography has been a huge passion since my youth, however the evolution of digital photography created a void in regards to the precision and tactility of film photography. In 2002...

NICHOLAS WILTON’s paintings are visual poems, informed by Nature and his personal experience of life. Color, texture, and organic forms are layered into a complex visual weave that h...

Never opened at all and still sealed in Original Packaging. An absolutely iconic piece from Daniel Arsham and a must have for any Pokemon Fan! Daniel Arsham Pokemon Perrotin Pika...

Photography has been a huge passion since my youth, however the evolution of digital photography created a void in regards to the precision and tactility of film photography. In 2002...

Photography has been a huge passion since my youth, however the evolution of digital photography created a void in regards to the precision and tactility of film photography. In 2002...

Amazing work that is quite powerful in person! Must see. The Pathfinder, 2020, Giclee Print On 300 gsm cotton rag. 28 × 32 in from an Edition of 539. O...

"Both a celebration of nature and a cautionary tale. Waves are beautiful and represent a powerful, hypnotic rhythmic cycle, but when energized by a storm, waves can be incredibly des...

Chuck Sperry lives in the Haight-Ashbury district of San Francisco, where he’s made his particular style of rock poster designs for over 15 years. He operates Hangar 18, a silkscreen print studio, located in Oakland. Sperry works in San Francisco, but exhibits internationally from Athens to Argentina, Bristol to Belgrade (visited Belgrade at the invitation of The Cultural Minster of Serbia). By conducting workshops and lectures all over the planet, Sperry’s tutelage has inspired a new generation of rock poster and silkscreen artists worldwide. His artwork has been exhibited at leading San Francisco art institutions including the San Francisco Museum of Modern Art and the Yerba Buena Center for the Arts; his prints have been archived by the Achenbach Graphics Arts Council, The Oakland Museum of California, San Francisco Public Library (Main Branch), the United States Library of Congress, and the Rock and Roll Hall of Fame. He has brought his rock artistry to projects for Goldenvoice, Live Nation, Virgin Megastore, Guitar Center, Random House, Harper Collins, Harvard University Press, Nylon, and Wired. Released in early 2009, the documentary film “American Artifact...

"My paintings are an exploration of the phenomena of light. The light that exists within the environment and the light that falls over the objects. I am continually amazed with the...

Born in New York City, the son of a Czech architect and Viennese writer, Gary Komarin is a risk taker in contemporary painterly abstraction. Komarin's stalwart images have an epic q...

"My paintings are an exploration of the phenomena of light. The light that exists within the environment and the light that falls over the objects. I am continually amazed with the...

STEPHEN FOSS is widely known for the visually rich surface finish and color that show a return to heavily worked finishes in contemporary painting. His current body of work is a prim...

"My paintings are an exploration of the phenomena of light. The light that exists within the environment and the light that falls over the objects. I am continually amazed with the...

Born in New York City, the son of a Czech architect and Viennese writer, Gary Komarin is a risk taker in contemporary painterly abstraction. Komarin's stalwart images have an epic q...

Born in New York City, the son of a Czech architect and Viennese writer, Gary Komarin is a risk taker in contemporary painterly abstraction. Komarin's stalwart images have an epic q...

"My paintings are an exploration of the phenomena of light. The light that exists within the environment and the light that falls over the objects. I am continually amazed with the...

Born in New York City, the son of a Czech architect and Viennese writer, Gary Komarin is a risk taker in contemporary painterly abstraction. Komarin's stalwart images have an epic q...

The Mojo poster was part of VIP ticket packages for the tour. Artists: Shepard Fairey Bands: Tom Petty & The Heartbreakers Edition Details Year: 2010 Class: Fine Art Print Status: Official Tour Print Run: 175/250 Paper: Holographic Fine Art Foil Paper Size: 18 X 24 Markings: Numbered by the artist in black felt marker. Print measures 18X24 and is in perfect condition with no visible flaws. Any questions please let us know. Thank you 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...

"I originally created this image in response to the terror attacks at the Bataclan and other parts of Paris in late 2015. At that terrible moment I wanted to create an image of support to show solidarity with Parisians and French people. Freedom, equality, fraternity – those are all things that I think democratic societies value. I intended for it to be interpreted and embraced by french people in a broad sense; however, I’d like to see those actions be meaningful. When I saw the attack on my mural and read some of the meaning behind it, I realized that it was done as a statement to oppose injustice. I side with people who oppose injustice, especially regarding human rights, and my beliefs in peace, harmony, and equality – all of which I work to embody through my art. If this image is used by people that don't incorporate those principles, I disapprove of that. I do not want this image to be hijacked for those who don't believe in its meaning. We're all part of shaping the world the way we want it to be and everyone should play their role, me included, in making sure that those terms are defined through action. That is why I am releasing a new version of the print that says, "actions are more important than words." If we do that properly, I think liberty, equality, and fraternity are all good things to keep in mind and continue to define in the most positive ways possible. For all the times those principles have been abandoned or have not been defined positively, I included a teardrop on Marianne. I believe in using my art to shed light on issues and support people who do work on the ground for those issues. I hope that this image's best intention can be realized as we work towards a better future." -Shepard Fairey Materials Fine Art Cream Speckletone Paper Size 36 × 24 in 91.4 × 61 cm Rarity Open edition Medium Print Condition Print is in pristine condition and has been stored flat since purchase. Signature Hand-signed by artist, Hand signed and dated by the artist Shepard Fairey, 2021. Certificate of authenticity Included (issued by gallery) Frame Not included Publisher Obey Giant Studio...