Shepard Fairey

To call Shepard Fairey a “street artist” is deceptive. Although he rose to some notoriety with his “Andre the Giant Has a Posse” sticker campaign out of the skateboarding scene in the late ’80s, he has found success and a long-term following as an artist-activist. If you’ve seen the Obama Hope poster or the OBEY logo on a shirt, then you know Shepard Fairey. Includes bonus spread for September–December 2026 Generous grids for adding appointments and reminders Includes major official world holidays The perfect gift for both any street art and Shepard Fairey fan! Opens to 12 inches x 24 inches

To call Shepard Fairey a “street artist” is deceptive. Although he rose to some notoriety with his “Andre the Giant Has a Posse” sticker campaign out of the skateboarding scene in the late ’80s, he has found success and a long-term following as an artist-activist. If you’ve seen the Obama Hope poster or the OBEY logo on a shirt, then you know Shepard Fairey. Includes bonus spread for September–December 2025 Generous grids for adding appointments and reminders Includes major official world holidays The perfect gift for both any street art and Shepard Fairey fan! Opens to 12 inches x 24 inches

A revealing collection of quotations from the world-renowned artist and political activist behind the iconic Obama “Hope” poster and the “Obey Giant” street-art campaignShepard Fairey is one of today’s most important and influential street artists, activists, and graphic designers. His instantly recognizable designs—“André the Giant has a Posse,” “Obey Giant,” the Obama “Hope” poster, and the “We the People” posters for the 2017 Women’s March—have become an indelible part of visual culture, appearing in countless media, including stickers, stencils, prints, T-shirts, album covers, murals, and fine art. Fairey-isms is a compelling collection of quotations from this fascinating artist. Gathered from interviews, articles, and other sources, these quotations offer rich insights about his life and work, including his thoughts on art, creativity, politics, and propaganda and his reflections on his influences—from skateboarding, The Clash, and Public Enemy to Russian Constructivism and artists such as Futura, Barbara Kruger, and Andy Warhol.“I use the word ‘Obey’ in much of my art as a form of reverse psychology. Though most people wish they were independent, many obediently follow the path of least resistance and are uncomfortable with confronting the word ‘Obey.’”“Any message that’s worth delivering can be amplified with art.”“I called my work propaganda out of an understanding that there’s an irony, because every piece of visual communication has an agenda. Any of it could be called propaganda.”“Repetition works.”

The politically charged art of Robbie Conal is gnarled, gut retching, and emotionally laden. Featuring every image in Robbie Conal’s storied poster campaigns, this is the definitive history of “America’s foremost street artist” (Washington Post). A foreword by Shepard Fairey, American contemporary street artist, graphic designer, and activist, sets the scene. Conal's satirical posters of political figures are given richer context as his life story is insightfully joined with art criticism by expert Daichendt. Today honored by museums and arts organizations around the world, Conal hit high speed during the Reagan administration in 1986, when he began turning his grotesque portraits into street posters. We see Conal's life come together at a critical moment to attack issues of censorship, war, social injustice, and the environment.

Shepard Fairey s first comprehensive monograph brought back into print, which chronicles his early art school days, his viral Andre the Giant has a Posse sticker campaign in the 1990s, the creation of his enormously successful OBEY apparel brand, and his longtime role as an activist-street artist.

"Artists covered the interior walls with their latest, most ambitious efforts, transforming a casual auld-lang-syne get-together into a state-of-the-art statement that ranged from classic tagging to new adventures in papering, printing, varnishing, installation and, in one impressive instance, crayon. There were lines around the block." Roberta Smith, The New York Times In December of 2006, an unlikely group of nearly 100 street artists from all over the world came together to participate in an art show celebrating Eleven Spring Street, long a premiere destination on the international Street Art map. The New York Times wrote, "One of the best shows of the season flamed past just before Christmas: a weekend long display of graffiti created by artists from around the world at, and in honor of, 11 Spring Street." The methodology was mixed media to the max: Wheat paste, paper, spray paint, house paint, markers, metal objects, found objects the result was chaotic yet undeniably arresting. Marc and Sara Schiller of the Wooster Collective curated the three-day event, calling the show Wooster on Spring. It featured street art superstars like Shepard Fairey and Swoon as well as emergent talents including JR, Prune, and Doze Green. The result was a potent mix of artists who brought the street inside by re-claiming the walls for themselves, and a tipping point for what has become an international art world phenomenon. The three-day public viewing session was a landmark downtown event that drew crowds in the thousands, with people waiting up to five hours to get inside. With an Introduction by Shepard Fairey, an Afterword by JR, and an essay from Randy Kennedy of The New York Times, Eleven Spring captures an important moment in Street Art s history. All the works that were created for the show were subsequently covered up or destroyed by renovation. Eleven Spring allows these vibrant works to live again, ready for a new generation of admirers to enjoy and celebrate."