{"id":277374,"date":"2025-11-12T00:03:24","date_gmt":"2025-11-12T00:03:24","guid":{"rendered":"https:\/\/www.newsbeep.com\/ca\/277374\/"},"modified":"2025-11-12T00:03:24","modified_gmt":"2025-11-12T00:03:24","slug":"shepard-faireys-retrospective-out-of-print-to-show-in-los-angeles","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/ca\/277374\/","title":{"rendered":"Shepard Fairey’s Retrospective ‘Out Of Print’ To Show in Los Angeles"},"content":{"rendered":"

Shepard Fairey\u2019s protest posters have transcended popular culture over the past three decades, primarily by challenging authority and consumerism with a bold, graphic style that masterfully merges pop art aesthetics with the compelling visual language of propaganda and Soviet-era constructivism.\u00a0<\/p>\n

Beyond the Streets, the globally recognized art-driven cultural and educational movement centered on graffiti and street art, is set to present a landmark retrospective exhibition, Shepard Fairey: Out of Print, devoted to the artist\u2019s lifelong dialogue with printmaking. Bringing together more than 400 original screen prints alongside new and remixed works that combine screen printing and stenciling, the exhibition surveys Fairey\u2019s enduring commitment to the image, the multiple, and the power of mass communication.<\/p>\n

Out of Print tracks Shepard Fairey\u2019s visual journey, showcasing his evolution from guerrilla street interventions to creating globally recognized cultural icons. The exhibition contrasts the raw energy of his early hand-pulled posters and wall placements with the graphic precision of his later studio editions. The presentation highlights the artist\u2019s fluency in the language of advertising and propaganda, recoding those strategies to \u201carrest visually and provoke intellectually,\u201d and underscores how the reproducible image circulated on walls, in windows, and through wardrobes functions as both civic dialogue and cultural memory.<\/p>\n

Fairey tells Deadline: \u201cFilm has always been hugely influential for me because it is so immersive and can transport the viewer to another mind-opening world. A lot of my understanding of the power of archetypes and symbols comes from films like Star Wars, Dr. Strangelove, V for Vendetta, or Full Metal Jacket. I named an art show of mine \u201cThe Duality of Humanity,\u201d paraphrasing some dialogue from Full Metal Jacket, but inspired by the juxtaposition of a peace sign on the character Joker\u2019s flak jacket. Great dialogue from films like Dazed and Confused or Fargo always reminds me to use text in my art in a witty, provocative, and instantly memorable way.\u201d <\/p>\n

He continues: \u201cOf course, John Carpenter\u2019s They Live inspired me to use the word \u201cObey\u201d in my art. They Live contains graffiti and street art components along with advertising images that symbolize the insidious forces of oppression and reactions against those forces. Film is an incredibly potent and persuasive medium, so I regularly look to images, storytelling, and powerful language from film for inspiration in my art. Television has become very good, so I find inspiring ideas in shows like Black Mirror and The Newsroom.\u201d <\/p>\n

RELATED: Hulu Doc \u2018Obey Giant\u2019 Paints Portrait Of Obama \u201cHope\u201d Poster Artist Shepard Fairey<\/a><\/p>\n

\u201cI\u2019m a product of the era of mass production, and the mass culture printing has created. I can\u2019t imagine my art practice without the influence of, and the use of, printing,\u201d says Fairey. \u201cSome of my biggest art influences were not paintings but printed things like posters, album covers, skateboard graphics, punk flyers, and t\u2011shirt designs. Printing is a cornerstone of my art practice and philosophy. The printing press began the democratization of art, and I have used printed posters to spread my artwork and messages in public spaces as well as keep my art affordable by printing multiples.\u201d<\/p>\n

Alongside historic and rare editions, the exhibition debuts a focused group of hybrid works in which layered stencils, paper, and ink collide, expanding Fairey\u2019s print vocabulary while remaining rooted in the immediacy of the street. Archival materials, process ephemera, and contextual graphics round out the presentation, offering a behind\u2011the\u2011scenes look at the artist\u2019s methods and influences, posters, album art, skateboard graphics, and punk flyers, among them.<\/p>\n

Fairey\u2019s influential career was launched in 1989 with the creation of the simple \u201cAndr\u00e9 the Giant Has a Posse\u201d sticker, which quickly evolved into the globally recognized Obey Giant art campaign. This movement fundamentally altered the public\u2019s perception of art and the urban landscape, utilizing guerrilla tactics to promote dissent and inquiry.\u00a0<\/p>\n

Spanning nearly 35 years, his acclaimed body of work is marked by high-impact political imagery, including the iconic 2008 \u201cHope\u201d portrait of Barack Obama, which is now housed in the Smithsonian\u2019s National Portrait Gallery. More recently, in 2017, he collaborated on the powerful \u201cWe the People\u201d series, which became a globally recognizable visual cornerstone of the Women\u2019s Marches. Fairey\u2019s continued impact is celebrated in the touring retrospective, Facing the Giant: Three Decades of Dissent, which has traveled to major international and U.S. cities since 2019.\u00a0<\/p>\n

His life and work were further documented in the 2017 feature-length Hulu film, Obey Giant: The Art and Dissent of Shepard Fairey.<\/p>\n

The show runs from November 15-January 11, 2026 at Beyond the Streets.<\/p>\n

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Roger Shepard and Shepard Fairey<\/p>\n

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Roger Shepard and Shepard Fairey<\/p>\n

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Roger Shepard and Shepard Fairey<\/p>\n

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Shepard Fairey Che, 1997 Screenprint on Paper 24 x 18 (61 x 45.7 cm)<\/p>\n

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Shepard Fairey Chinese Building, 2000 Screenprint on Paper 24 x 18 (61 x 45.7 cm)<\/p>\n

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Shepard Fairey Fist, 2000 Screenprint on Paper 24 x 18 (61 x 45.7 cm)<\/p>\n

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Shepard Fairey Giant Star OBEY, 1996 Screenprint on Paper 24 x 18 (61 x 45.7 cm)<\/p>\n

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Shepard Fairey Guns and Roses, 2006 Screenprint on Paper 24 x 18 (61 x 45.7 cm)<\/p>\n

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Shepard Fairey Hammer, 2000 Screenprint on Paper 24 x 18 (61 x 45.7 cm)<\/p>\n

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Shepard Fairey High Time for Peace, 2005 Screenprint on Paper 24 x 18 (61 x 45.7 cm)<\/p>\n

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Shepard Fairey Mr. Spray, 2004 Screenprint on Paper 24 x 18 (61 x 45.7 cm)<\/p>\n

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Shepard Fairey Mujer Fatale, 2007 Screenprint on Paper 24 x 18 (61 x 45.7 cm)<\/p>\n

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Shepard Fairey Nubian Sign, 2000 Screenprint on Paper 24 x 18 (61 x 45.7 cm)<\/p>\n

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Shepard Fairey Panther Power, 2007 Screenprint on Paper 24 x 18 (61 x 45.7 cm)<\/p>\n

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Shepard Fairey Third Eye Open, 2024 Letterpress on Cream Cotton Paper with Hand-Deckled Edges 20 1_2 x 15 1_4 in. (52.1 x 38.7 cm)<\/p>\n

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Shepard Fairey Visual Disobedience, 2004 Screenprint on Paper 24 x 18 (61 x 45.7 cm)<\/p>\n

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Shepard Fairey War For Sale (Red), 2007 Screenprint on Paper 24 x 18 (61 x 45.7 cm)<\/p>\n

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Shepard Fairey, Afrocentric (Red), 2007, Screenprint on Paper 24 x 18 in (61\u00d745.7 cm)<\/p>\n","protected":false},"excerpt":{"rendered":"Shepard Fairey\u2019s protest posters have transcended popular culture over the past three decades, primarily by challenging authority and…\n","protected":false},"author":2,"featured_media":277375,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[31],"tags":[76,354,355,49,48,356,75,116449],"class_list":{"0":"post-277374","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-arts-and-design","8":"tag-arts","9":"tag-arts-and-design","10":"tag-artsanddesign","11":"tag-ca","12":"tag-canada","13":"tag-design","14":"tag-entertainment","15":"tag-shepard-fairey"},"_links":{"self":[{"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/posts\/277374","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/comments?post=277374"}],"version-history":[{"count":0,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/posts\/277374\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/media\/277375"}],"wp:attachment":[{"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/media?parent=277374"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/categories?post=277374"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.newsbeep.com\/ca\/wp-json\/wp\/v2\/tags?post=277374"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}