To kick start the 30th Year anniversary of Obey Giant, the Street Art Fest in Grenoble (France) presents the largest exhibition ever organized dedicated to the prolific career of American artist Shepard FAIREY.
Starting in 1989, Shepard Fairey became known for his stickers featuring Andre the Giant, and then for the Obey the Giant campaign. He became world famous by producing Obama’s campaign poster “Hope” in 2008. In France, his ‘Marianne’ portrait, tribute to the victims of Paris terrorist attacks, adorns the office of the French President, while protesters have revisited this image with a blinded Marianne.
Spanning over 30 years (1989-2019), this comprehensive exhibition offers a global vision of the work of the artist with 600 works, with a selection of his best visuals, enriched with anecdotes and detailed information.
From his first hand-made stickers to his latest multilayered screenprints, visitors get to understand the esthetic and dissent messages by Shepard Fairey and his prolific body of work. A chronologic timeline presents a selection of 150 iconic screenprints, complemented by thematic sections like environment, politics, charities, peace, and music. The exhibition curated by Jérôme Catz provide a comprehensive picture of Shepard’s Fairey 30 years career.
Shepard Fairey and the Obey Giant team kicked off the start of the Obey 30th world tour in Grenoble, France with a new mural titled ‘Rose Girl’ for the Street Art Fest curated by Jerome Catz.
The mural features a female figure adorned with three roses on her head, symbol of Grenoble. Located between the Alps, Grenoble is a city ecologically responsible and continues to improve upon it. The ‘Rose Girl’ mural is a reminder to preserve the environment and to be at peace between human beings and the planet.
Painted with the Obey Giant team, it can be seen on the wall of the CROUS, in the heart of the students area.
Location is key as it represents hope with the future generations, but it also can be visible from the mountains and gondola lifts.
The Mayor of Grenoble, the Crous director, the Students Union and Jerome Catz, curator of the Grenoble Street Art Fest joined Shepard Fairey to inaugurate the Rose Girl monumental artwork.
In parallel to the mural, l’Ancien Musee de la Peinture de Grenoble is dedicating a comprehensive print survey of Shepard Fairey / Obey Giant spanning over 30 years of resistance with 600 artworks.
Stay tuned as we will come back with further coverage…
Grenoble Street Art Fest
Shepard Fairey – 30 Years of resistance
Ancien Musee de la Peinture
Until 27 October 2019
The Somerset House is currently celebrating the 500th anniversary of the publication of Thomas More’s book Utopia with a large show called UTOPIA 2016: A Year of Imagination and Possibility.
As part of this major exhibition, arts organisation A(by)P have renewed their collaboration with Somerset House ( see our previous coverage on Mapping the City and Futurismo Ancestral) with a new exhibition Venturing Beyond: Graffiti and the Everyday Utopias of the Street.
The show is exploring unsanctioned public art – or graffiti – as an intrinsically utopian practice and features specially-commissioned work of eighteen street artists from around the globe, including Antwan Horfée, Brad Downey, Eltono, Filippo Minelli, Huskmitnavn, Les Freres Ripoulain, Lucas Dillon, Mike Ballard, Misha Hollenbach, Nano4814, Petro, Revok, Russell Maurice, Saeio, Shepard Fairey, Sixe Paredes and Swoon.
Italian artist Fillipo Minelli kicked off the exhibition with his smoke performance, part of his ongoing Silence / Shapes series.
Using high visibility material, Petro (UK) enables the viewers to venture in places not normally accessible (through its ability to make the wearer invisible).
Blur Book from Les Freres Ripoulain (FR) is a version of a graffiti artist’s ‘Black Book’, but they have pixelated the content, to draw attention to the site specific context in which these works exist and to the performative doing of graffiti. NegatifX features a selection of images from their urban interventions between 2006 and 2016.
Brad Downey (US) created installation works that remain invisible at first sight using coloured wall plugs, installed directly behind other artist’s pieces.
Mike Ballard‘s series of work are inspired by the ‘urban hieroglyphics’ left by utility companies left on London Streets and explore the threshold between public and private space.
From 13 – 20 April, French artists Horfée and Russell Maurice will take up residency, providing visitors with an insight into the processes of the practice. Working in situ, they will produce a new body of work based on the utopian themes of the exhibition. This project space will then remain open for viewing alongside the main exhibition until 2 May.
In addition, A(by)P and Somerset House will be producing a wide-ranging programme of events to follow the key themes of the exhibition, including workshops, talks, films, music and performances.
Shepard Fairey unveiled his latest work “Earth Crisis”: a giant sphere suspended between the first and second floor of the Eiffel Tower, a call to action to address the global environmental crisis. Visible from November 20 to 26th, it is a strong artistic gesture for Paris that will host the World Conference on climate change COP21.
This project designed and implemented by Gallery Itinerrance comes from the combination of resolute commitment of the artist, the Mayor of Paris and the operating company of the Eiffel Tower, in favor of sustainable development. The sphere, called “Earth Crisis,” weighs 2.3 tons and displays 8 meters in diameter for a printed surface area of over 200 meters squared. Suspended more than 60 meters above the ground, it is a strong call to reflection on the future of our planet and the threats to its sustainability.
“My political stance on protecting the planet is driven by my concern for the quality of life for future generations. I’m not an alarmist, but I do think people need to understand that we are facing an earth crisis. I think it is exciting that the globe provides different experiences for the viewer from a distance and up close while living in the heart of the Eiffel Tower. I hope the Earth Crisis Globe appeals visually but also generates a needed conversation about the fate of our planet.” -Shepard
‘Public art has the power to engage people emotionally and intellectually. The Earth Crisis Globe is a mandala designed to provide a unified ornamental structure that evokes floral motifs and harmony with nature. Housed within the mandala’s shields are images that symbolize both threats to nature and incitement to respect it. The mandala images, composed of climate change and environmentally themed graphics, are positioned to raise awareness and provoke discussions about the Earth’s future. The colors used in the globe design connect blue and green of air, water, and vegetation that allow the earth to sustain life. ‘
Shepard Fairey explains in details the panels of the Earth Crisis Globe:
EARTH CRISIS
My political stance on protecting the planet is driven by my concern for the quality of life for future generations. When I look at the motives of those who deny climate change, they are not driven by a quest for truth, but by greed or, in the case of politicians, the benefit of aligning themselves with certain corporate donors. The correlation between Carbon emissions and climate change is virtually unanimous in the scientific community. I’m not an alarmist, but I do think people need to understand that we are facing an earth crisis. If you aren’t a bit concerned about climate change, what will it take… NYC and Bangladesh under water?
ENDLESS POWER
The Endless Power image is designed to feel like a vintage ad celebrating the abundance of gasoline and the bright future of the American Dream. The claim that petrol provides an unlimited future is a snapshot of the overly-optimistic wish that oil is unlimited. Oil is finite and a major factor in climate change, but reliance on it is so extreme that the power wielded by those who control oil is virtually unlimited. Scientists hired by fossil fuels corporations represent the 1% minority of the scientific community who claim that oil and gas don’t contribute to climate change. These are the same scientists who, if paid, would claim that smoking cures asthma or that gas fumes are a cure-all lung tonic.
EARTH CRISIS
My political stance on protecting the planet is driven by my concern for the quality of life for future generations. When I look at the motives of those who deny climate change, they are not driven by a quest for truth, but by greed or, in the case of politicians, the benefit of aligning themselves with certain corporate donors. The correlation between Carbon emissions and climate change is virtually unanimous in the scientific community. I’m not an alarmist, but I do think people need to understand that we are facing an earth crisis. If you aren’t a bit concerned about climate change, what will it take… NYC and Bangladesh under water?
GREEN POWER
Green Power was created as part of my Power & Glory series. The series explores various notions of power and glory in terms of industry, authority, energy, the environment, politics, vice, and virtue. Many of my Power & Glory images critique fossil fuels and explore their accompanying oil and gas iconography as symbols of what literally and metaphorically drives America. Green Power was one of the images from the series in support of green energy. Rather than subsidizing dirty fossil fuels, tax revenues should be supporting research and development for renewable power sources.
RESPECT AND JUSTICE
The Respect & Justice image is a call to celebrate, respect, and nurture the planet. The inter-dependence of earth’s eco-systems inspired the concept of Gaia, or the earth as one organism with a respiratory system. The earth’s delicate respiratory system can be thrown dangerously out of balance by climate change. True justice for the earth and future generations of all species can only be achieved by respecting the fragility of the eco-systems that sustain life. The future is in our hands.
PAINT IT BLACK
Paint it Black Hand is inspired by the Rolling Stones song and is about oil influencing too much of U.S. energy policy and foreign policy. Imagine if all the money spent on wars and strategic interests in the Middle East had been spent on developing green energy alternatives. Instead, the government subsidizes the highly profitable oil and gas industries for billions a year because no politician wants a rise in the price of gas to be blamed on them. The need for gas will remain, but countries and companies need to invest in sustainable energy alternatives to help with the transition away from the finite supply of fossil fuels that are also responsible for CO2 emissions and climate change.
LIFEGUARD NOT ON DUTY
This Lifeguard Not On Duty image was inspired by vintage scenic postcards and some old photos I saw of oil derricks down the beach on the California coast. There are still oil drilling platforms visible from the beach in Santa Barbara where there have been several oil spills. Beyond just the environmental hazards of oil spills and climate change, Lifeguard Not On Duty is also about our collective lack of foresight in transitioning away from oil, which is finite, to energy sources which are renewable. The tide will turn, and the question is whether the worldwill be technically equipped to adapt.
GLOBAL WARMING
The Global Warning image was inspired by watching my wife Amanda sunbathe with a newspaper over her face. I imagined the irony of newspaper headlines about climate change while the sunbather remains blissfully ignorant while the warnings about global warming are literally right in front of her face! I photographed my wife on the spot to make an illustration and then I had fun critiquing the right-wing climate change deniers in the satirical newspaper articles. Considering the magnitude of climate change, it is surpring that it does not make newspaper headlines with greater frequency.
SAVE OUR ENVIRONMENT
This image was originally created in the late 90’s for an organization called Save Our Environment which was founded by Mike D of the Beastie Boys. At the time, wind energy was becoming more cost-effective, and therefore viable, as a sustainable alternative to fossil fuels. Wind is actually free, so the biggest challenge to implementing wind turbines is the up-front cost. I think the investment in wind energy to save our environment is well worth it. I designed this image to suggest that windmills or turbines are iconic symbols of a healthy earth.
Pictures by Aline Deschamps, Milan Poyet, SETE/ E.Livine for Galerie Itinerrance and the artist
Los Angeles-based artist Shepard Fairey is having his first solo exhibition in a Spanish museum at the Centro de Arte Contemporáneo de Málaga, curated by Fernando Francés. With over 300 pieces, this is the largest body of work from Shepard Fairey to ever be exhibited. The retrospective ‘Your Eyes Here’ spans over 25 years, and features paintings, silkscreens, stencils, stickers, illustrations, collage, photographs, sculptures and works in wood and metal. The show is structured in thematic sections that retrace Fairey’s artistic influences like music, politics – war and peace – and environmental issues. There are also selected examples of his early works, street art and portraits of musicians, artists and activists, as well as an impressive collection of his screenprints, an essential part of his production.
In parallel to the museum exhibition, he and his team also painted a new ‘Mujer Fatal’ mural in the Soho district and some Obey Giant paste up and stencils could be found across the streets of Malaga.
View the full set of pics from the exhibition here
Shepard Fairey – Your Eyes Here
CAC Malaga
Until 25September 2015
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