A major retrospective showcasing the work of renowned street artist Shepard Fairey is set to examine the transformative power of protest art through print media. The exhibition, titled "Out of Print," will feature more than 400 prints spanning several decades of Fairey's career, alongside newly created works that continue his tradition of bold political messaging.
Fairey first gained recognition in the street art and skateboarding communities after creating a sticker in 1989 featuring the phrase "Andre the Giant has a posse." This simple design, which was widely distributed, evolved into a recurring motif featuring the wrestler's face across dozens of subsequent prints. The artist's work reached mainstream prominence during Barack Obama's 2008 presidential campaign with his iconic portrait of the candidate positioned above the word "hope." This optimistic piece demonstrated how grassroots activism, particularly through the medium of print and shared imagery, can achieve iconic status and wield tremendous cultural influence.
The retrospective, presented by Beyond the Streets gallery in Los Angeles, celebrates what organizers describe as "the rebellious, democratic force of ink and paper." Fairey's subversive artistic practice, operating under the banner "Obey Giant," carries the motto "Manufacturing quality dissent since 1989." His work consistently emphasizes themes of activism, empowerment, and protest, featuring subjects ranging from feminist activist Angela Davis to iconic symbols of peace amid periods of political turmoil.
Fairey's distinctive visual style frequently incorporates color schemes and modernist graphic elements reminiscent of early 20th-century propaganda posters, particularly those from the Soviet Union era. By repurposing design motifs historically associated with fascism to convey messages of peace, feminism, love, and democracy, he underscores the inherent power of visual communication. This technique creates a striking juxtaposition that challenges viewers to reconsider the relationship between form and message in political art.
Despite the digital age's impact on traditional media, Fairey remains committed to the power of physical prints. "Some people say digital media has ended print, but the provocative, tactile experience of a print on a wall or in the wild can't be replaced," the artist explains. "Printing still matters!" This philosophy reflects his belief that tangible artwork maintains a unique ability to engage audiences in ways that digital media cannot replicate.
The exhibition will run from November 15 through January 11 in Los Angeles, offering visitors an comprehensive look at Fairey's evolution as both an artist and activist. Featured works include notable pieces such as "Afrocentric (Red)" (2007), "Visual Disobedience" (2004), "War For Sale (Red)" (2007), "High Time for Peace" (2005), and "Panther Power" (2007), all executed as screenprints on paper measuring 24 by 18 inches.
