I first heard the Cramps courtesy of my friend Bill Hussey in 1985. He lent me the tape of the Cramps’ album Bad Music for Bad People. I loved the cover art, so I was intrigued to hear it. I vividly remember listening to”Garbageman” on my boombox for the first time as I was setting up a new skateboard. I was slightly unsure about the twanginess of it, because anything with a country flavor to it was seen as supremely un-punk. Fortunately, “Garbageman” began with the lyrics “You ain’t no punk, you punk… you wanna talk about the real junk”, which gave the Cramps enough punk cred for me to give their music a chance. Bad Music for Bad People is a definitive classic album with songs like “Human Fly,” “Love Me,” and “Uranium Rock.” I was also intrigued that the founders of the band, Lux Interior, and Poison Ivy Rorschach were romantic partners. There were not that many women in punk bands and Poison Ivy was as cool as they come… with beauty and style for miles! I love the Cramps’ distinctive visuals. From their cover art to photoshoots, the Cramps had a dark, campy Rockabilly goth image with a pinch of sexiness in lead guitarist Poison Ivy, who always wore fishnet stockings and never seemed to age. I saw the Cramps a couple times in Providence, including on their 1990 Stay Sick! tour. That show was one of the best I’ve ever seen, with lead singer Lux Interior climbing up the speaker stacks, humping them and, and jumping back to the stage, all while perfectly maintaining his black magic possessed Elvis vocals. Poison Ivy made perfect fuzzed out riffs look effortless and she happened to have her normally curly hair straightened on that tour. I feel very lucky that photographer Huib Rutten was willing to let me illustrate from his fantastic photo of Poison Ivy from the same era. I think the Cramps are one of the greatest bands ever and exuded a primal sleazy swagger with unique wit and style.
-Shepard

PRINT DETAILS: Poison Ivy of The Cramps. 24″ H x 18″ W. Screen print on 80# cream Speckletone paper. Signed by Shepard Fairey. Numbered edition of 550. $75. Available on Thurs, Oct. 29 @ 10 AM PDT at Obey Giant Store.

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I just opened my art show “New Day Rising” at ABV Gallery in Atlanta, and while in town the crew and I were also able to paint “Justice Champion Coretta Scott King,” a mural of civil rights icon Coretta Scott King, the wife of Martin Luther King Jr., who kept vigorously organizing and pushing for change long after her husband was assassinated. The mural sits across the street from the former Butler Street YMCA where Coretta and Dr. King often gathered with activists. We are seeing very troubling backsliding on civil rights, so do your part for democracy and make sure to VOTE! I’m very grateful to Nate and Greg Mike from ABV Gallery for their help facilitating this project as well as the Butler Street CDC, Gorman Company USA, and Sweet Auburn Grande. Also, thanks to my crew of Dan Flores, Rob Zagula, and Jon Furlong (who also shot the photos).
-Shepard

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Today is Tom Petty’s birthday. I’ve been a big fan of Tom Petty since I first heard “Refugee” and “Don’t Do Me Like That” on the radio as a nine-year-old kid. My Appreciation for Tom Petty and the Heartbreakers has only grown over the years as I’ve come to understand the power of Tom’s empathy for the underdog in his storytelling and the band’s dynamic chemistry in their musical arrangements and performances. I was lucky enough to work with Tom on several projects before he passed, and I was honored when Adria Petty reached out to me to illustrate a portrait of her dad for the cover of the “Tom Petty: An American Treasure” box set. With this year marking 50 years since the release of the first Tom Petty and the Heartbreakers album, Adria approached me again to create an early career portrait of Tom as a young man hungry to break through with his music and voice. I made this portrait of Tom to capture the intensity, attitude, and vigor of his early career. Those traits persisted and were eventually widely recognized as a tenacious working-class ethic, but the Heartbreakers’ debut album wasn’t an immediate hit, despite featuring the now-classic “American Girl” and “Breakdown.” I’ve always admired independence, determination, and vision, and Tom Petty and the Heartbreakers had all those things in spades. Through this collaboration with Tom Petty’s estate, we are proud to support ACLU in their efforts to ensure that every eligible voter has the information and the right to cast their ballot and have their vote counted. Thanks, Tom, for 50 years of music and mojo, and for never backing down!

PRINT DETAILS: Tom Petty: I Won’t Back Down. 32″ H x 24″ W. Screen print on 100% Cotton Custom Archival Paper with hand-deckled edges. Signed by Shepard Fairey. Numbered edition of 150. Obey publishing chop in lower left corner. $225. Available on Thursday, October 22nd @ 10 AM PDT at the Obey Giant Store and Tom Petty Online Store.

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I was honored to create the art for the Damned’s 50th anniversary tour. I first heard the Damned in the mid 80’s when they performed the song “Nasty” on the TV show The Young Ones which aired on MTV (also the show where I first heard “The Ace of Spades” by Motörhead!). I knew the Damned had been booked on the Sex Pistols’ doomed “Anarchy Tour” but “Nasty” was the first song I heard. I LOVED IT! I went looking for a Damned album with “Nasty” on it, but couldn’t find one. Luckily I picked up Damned Damned Damned which has two of my favorite Damned songs “Neat Neat Neat” and “New Rose”, which was the first UK punk single released, even before the Sex Pistols. The Damned have a quite varied catalog and from ’77 punk they branched out to moody goth vibes and neo glam among other stylings but have always circled back to high energy catchy punk songs. I’ve seen the Damned several times and they always put on a great show. I’m excited to see them on their Final Damnation 50 tour in LA in November!

-Shepard

PRINT DETAILS: Final Damnation 50. 24″ H x 18″ W. Screen print on 80# cream Speckletone paper. Signed by Shepard Fairey. Numbered edition of 400. Comes with a Digital Certificate of Authenticity provided by Verisart. $75. Available on Friday, October 16th @ 10 AM PDT at https://store.obeygiant.com. Max order: 1 per customer/household. International customers are responsible for any applicable import duties, taxes and customs fees due upon delivery, except for UK orders under $160 USD and EU orders.

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The crew and I were recently in Asbury Park, NJ, for my “Raw Power” art show and to paint a mural consisting of four walls. I had done a show and painted and pasted murals in Asbury back in 2011, and I’d hoped to return for many years. Asbury has a punk D.I.Y. spirit that is very special. In 2011, I collaborated with Jenn and Porkchop of Asbury Lanes and the Parlor Gallery, as well as gallerist Jonathan LeVine. We got the gang back together for the current show and murals, and I was delighted that Asbury’s very special spirit is alive and well, even as the pressures of gentrification encroach. One of the paste-up murals I did in 2011 was part of my Punk Rock Icons series, featuring Joey Ramone, John Lydon, Joe Strummer, Glenn Danzig, Ian MacKaye, and Henry Rollins. I brought the series back to the Sunset Pavilion, repainted my weathered megaphone mural, and painted new murals of Chuck D of Public Enemy and Joe Strummer of the Clash. The location was right in the thick of things for the Sea Hear Now music festival where I saw amazing performances by Die Spitz, The Pixies, Moby, Fontaines DC, and the Strokes. I also got to do a talk with photographer Danny Clinch, a major talent, cultural force, and festival partner. There was also a parade of giant puppets featuring incredible works by Dennis McNett, Adam Wallacavage, and Swoon. The community turned out in droves despite a drizzle. In terms of my taste and values, the week in Asbury was pretty utopian. Thanks to everyone who supported our projects, including Wooden Walls Project, Parlor Gallery, The Art Spot, PlusOne, Jonathan Levine, Sea Hear Now, and Tim Donnelly. Thanks also to my crew, Dan Flores, Rob Zagula, and Jonathan Furlong who also shot all the photos! -Shepard

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Siouxsie Sioux has been a cultural trailblazer and wrecking ball for 50 years, and continues to inspire and push the definition of punk rock far beyond the confines of a narrow style and into a world of creative fearlessness and versatility. I was honored to illustrate this portrait of Siouxsie based on an incredible photograph of her from when she was 21 years old in 1978. The shot was impromptu, on the streets of London’s Ladbroke Grove, but Kate captured her in a beautiful way that compelled me to create this piece. I’ve been a fan of Siouxsie since 1985, when the only artsy girl in my school who was intimidatingly self-possessed and wore nothing but black introduced me to her albums Kaleidoscope and Hyaena. Many Siouxsie songs like “Cities in Dust” and “Spellbound” have a beautiful, haunting quality to them, but her range is vast and her covers of “The Passenger” and “Dear Prudence” are even more exuberant than the original versions. I was also impressed to learn that Siouxsie was an early fan of the Sex Pistols and turned that inspiration into forming a band and becoming a music and fashion icon through courage, talent, and will. I’m lucky to have worked with her and her management on this portrait. I hope you put on a Siouxsie record from your collection or pick one up at your local record store, and explore the goth/punk universe she created!
-Shepard

PRINT DETAILS: Siouxsie, 1978. 24″ H x 18″ W. Screen print on 80# cream Speckletone paper. Original Illustration based on a photograph by Kate Simon. Signed by Shepard Fairey. Numbered edition of 600. Comes with a Digital Certificate of Authenticity provided by Verisart. $85. Available on Friday, October 9th @ 10 AM PDT at https://store.obeygiant.com. Max order: 1 per customer/household. International customers are responsible for any applicable import duties, taxes and customs fees due upon delivery, except for UK orders under $160 USD and EU orders.

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I’m thrilled to be a part of Tom Morello’s Power to the People Festival, a celebration of peace, justice, solidarity, music, and community action. Not only did I create the poster art, but I will also be DJing at the festival which is taking place on Saturday, October 3, 2026 at Merriweather Post Pavilion in Columbia, MD. This festival brings together artists, fans, activists, organizations and community leaders for an unforgettable day celebrating the power of music and collective action to inspire change. Hope to see you there! -Shepard

PRINT DETAILS: Power to the People Festival. 24″ H x 18″ W. Screen print on 80# cream Speckletone paper. Signed by Shepard Fairey. Numbered edition of 500. $70. Available on Thursday, October 1st @ 10 AM PDT at the Obey Giant and Power To The People web stores.

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ABV Gallery is proud to present ‘NEW DAY RISING,’ a solo exhibition by Shepard Fairey.

This exhibition marks Shepard Fairey’s first solo exhibition in Atlanta, presenting more than 150 works that explore his signature imagery and cultural commentary.

OPENING RECEPTION
Saturday, October 24 | 6–10 PM
FREE ENTRY – RSVP HERE.

On View: October 24, 2026 – January 3, 2027

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I was honored to be asked to Bisbee, Arizona to be part of the Artemizia Foundation by creating two permanent murals. I am very impressed by how vast and diverse the collection is there and the generous humanity within all of the work. One of the things that I love about street art is that it’s shared generously with the public, so that spirit seems to be imbued in this collection. 

“Nadya Power & Equality”

My new murals at Artemizia Foundation were inspired by talking to Sloane Bouchever, the director and founder of the museum, about our shared philosophies. The idea of peace and equality, empowering female artists are some of the themes that resonated. There are many female artists represented in this collection, so I chose to do a portrait of Nadya Tolokonnikova from Pussy Riot, who is a close friend and someone that I admire very much for her creativity, her activism, her courage, and her use of every tool at her disposal to push for things to be more just and more fair.

“Cultivate Peace”

The other mural uses a woman from an image I created called “Welcome Visitor” that’s about welcoming immigrants. The subject of this mural looks very meditative and also within that mural configuration is a smaller piece of a hand holding up a flower. I use flowers a lot as symbols of health, rebirth, possibility, and harmony. And of course with the peace mural, there are some symbols that I think are easy for people to recognize like the dove, there are additional floral patterns, things that I think suggest or evoke harmony.

You can also check out the video below to see how Shepard created these new murals at AF and learn about his process and purpose with his art.

(Photos by Jonathan Furlong)

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Filthy Lucre Ain’t Nothing New is an exploration of the complicated seduction and repulsion of money. The exhibition title comes from the Sex Pistol’s song “The Great Rock ’n’ Roll Swindle.” The full lyric goes: “Filthy lucre ain’t nothing new…we’re all just cash from chaos.” The Sex Pistols were unashamed of swindling the rock ’n’ roll industry as a coup benefitting themselves and the rowdy punk rock revolution. They asserted that all cultural output eventually becomes a commodified product under capitalism, so why not be a winner in a system within which no one is innocent?
My choice of making art on a 1937 Packard was inspired by its aesthetic similarity to a Rolls-Royce Phantom of the same era. In a collaboration with Jamie Reid, the graphic artist for the Sex Pistols, I created an illustration of a Rolls-Royce Phantom on fire to proclaim the dead end of classism, ostentatious luxury, and the empire mentality. In this sense, painting with gold on a 1937 Packard to create a high-value, beautiful automotive art object raises questions about creativity and capitalism, and becomes uncomfortably paradoxical. Hopefully, this discomfort forces the audience to wrestle with the complex nature of capitalism itself.
-Shepard

This new screen print will be available in person at CART Department’s exhibition in New York (details below) and online at the Obey Giant Store starting Sept. 24 at 10AM PT.

PRINT DETAILS: Filthy Lucre Ain’t Nothing New. 24″ H x 18″ W. Screen print on 80# cream Speckletone paper. Signed by Shepard Fairey. Numbered edition of 500. $70. 

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I was honored to be asked by Mike Ness to create the cover art for Social Distortion’s new album “Born to Kill.” The album is great with a ferocity, but also has stylistic diversity and great songwriting. It’s awesome that the band still sounds fresh and vital over 45 years into their career! I first heard Social Distortion in 1985, and I was immediately struck by their punk power and rebellious themes delivered with an undeniable melodic appeal. I begged my parents to buy me the first Social Distortion album, “Mommy’s Little Monster.” My parents hated punk, so when they asked me if the music was punk, I lied and said, “No, it’s New Wave.” I listened to the album non-stop, and a lot of the themes- freedom, generation gaps, questioning authority, subcultural community, etc.- really resonated with me. I’ve seen Social Distortion many times over the years, and I’ve watched their evolution firsthand. They grew from a more conventional punk sound to a broader definition of punk that includes nods to early Rolling Stones and Johnny Cash, artists who pushed social boundaries and outlaw themes. I remember hearing the band’s song, “Story of My Life,” on the radio in 1990, pre-grunge, and thinking to myself, “what a coup… what a triumph, that these guys infiltrated rock radio.” In my opinion, Social Distortion shattered a glass ceiling and did what few bands can do: they found broad appeal without abandoning their punk roots or watering down their sound. -Shepard

PRINT DETAILS: Social Distortion Born to Kill. 24″ H x 18″ W. Screen print on 80# cream Speckletone paper. Signed by Shepard Fairey and Mike Ness. Numbered edition of 550. Comes with a Digital Certificate of Authenticity provided by Verisart. $75. Available on Thursday, September 17th @ 10 AM PDT at https://store.obeygiant.com. Max order: 1 per customer/household. International customers are responsible for any applicable import duties, taxes and customs fees due upon delivery, except for UK orders under $160 USD and EU orders.

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Art Miami, America’s longest-running international contemporary art fair, running December 1 – 6^th, 2026, announced street art pioneer, graphic designer, and activist Shepard Fairey as the recipient of the 2026 Art Miami Lifetime Visionary Award.

The prestigious award recognizes visionary figures whose groundbreaking contributions have permanently transformed the landscape of contemporary art, culture, and social discourse. Fairey will officially accept the honor during Miami Art Week in December 2026. He is the third recipient of the award, following past honorees Jorge Pérez and Dennis + Debra Scholl.

“Shepard Fairey is a dynamic force whose work transcends traditional gallery walls to ignite conversations on justice, equality, and humanity,” Nick Korniloff, Director of Art Miami, said. “His vision, relentless activism, and undeniable impact on visual culture make him the ideal honoree for the 2026 Lifetime Visionary Award. We are thrilled to celebrate his legacy and ongoing influence here in Miami.”

In addition to receiving the award, Fairey’s presence will span across the Art Miami fair family throughout Miami Art Week. His work will be highlighted in a curated presentation inside the VIP Lounge at Art Miami, featuring key monumental moments, print editions, and fine art works from his global portfolio. Highlighting his multidisciplinary practice, Fairey will perform exclusive DJ sets during the VIP Previews for both CONTEXT Art Miami and Aqua Art Miami. Leaving a lasting physical imprint on Miami’s visual landscape, he will also install a new exterior facade mural at the iconic Aqua Hotel in Miami Beach.

“I’ve always believed that art should be accessible, provocative, and serve as a tool for dialogue,” Shepard Fairey said. “To be recognized by Art Miami with the Lifetime Visionary Award is a deep honor. Miami has long been a vibrant canvas for public art and urban expression, making this recognition especially meaningful.”

Entering its milestone 36th edition, Art Miami reaffirms its position as an indispensable pillar of the global art market and the cornerstone of Miami Art Week. As the city’s original and longest-running international contemporary art fair, it remains a premier destination for acquiring investment-grade works spanning the 20th and 21st centuries. Set against its iconic waterfront location at One Herald Plaza, the fair convenes a prestigious network of internationally renowned galleries showcasing a rigorously curated cross-section of primary and secondary-market masterpieces—from Post-War and Pop icons to groundbreaking contemporary practices. Recognized for its high-volume commercial energy and deep institutional engagement, Art Miami is an essential fixture for discerning collectors, museum directors, advisors, and tastemakers.

Fairey’s contributions will be celebrated at a private cocktail reception and dinner on Thursday, December 3rd, at Boulud Sud (located inside the JW Marriott Marquis in downtown Miami). The menu will be personally prepared by Michelin-Star Chef Daniel Boulud. A portion of the proceeds from the evening will benefit the Perry J. Cohen Foundation, supporting its core pillar dedicated to the arts – an organization for which Fairey personally designed the official logo.

For more information regarding the award dinner, fair hours, and VIP preview access, please visit www.artmiami.com.

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I’m proud to announce “Shepard Fairey: Filthy Lucre Ain’t Nothing New,” an upcoming show in collaboration with Cart Department. The exhibition features the world premiere of Untitled (Art Car), a 1937 Packard Touring Sedan, along with a musical playlist connecting it to hip-hop and punk cultures. The exhibition is on view Thursday, September 24 – Sunday, September 27, from 12pm–6pm daily at 16 Morton St, New York, NY. The show will only be on display for a limited time, so I hope you can check it out! -Shepard

Thursday, September 24 • 6pm–9pm: Public Opening with DJ G-Bo The Pro and Artist Talk with Carlo McCormick and Shepard Fairey beginning at 4:30pm (RSVP HERE!)

Friday, September 25 • 6:30pm: Panel Discussion moderated by Steven Blush with panelists Janette Beckman, Eric Haze, Pete Nice and Drew Stone(Shepard will not be present for this panel discussion)

PRESS RELEASE: Cart Department is pleased to announce Shepard Fairey: FilthyLucre Ain’t Nothing New, in collaboration with the renowned artist. The exhibition features the world premiere of Untitled (Art Car), a 1937 Packard Touring Sedan along with a musical playlist connecting it to hip-hop and punk cultures.

One side, celebrating wealth and opulence, features hip-hop lyrics from artists such as Slick Rick, Chuck D of Public Enemy, and The Notorious B.I.G. The other, critiquing consumerism and power, draws on punk-music lyrics from Joe Strummer of The Clash, Jello Bi-afra of Dead Kennedys, and Jamie Reid’s work with the Sex Pistols. Rendered in intricate metallic gold patterns, the car pairs the visual language of luxury with pointed social commentary, turning a symbol of excess into a layered reflection on power and consumption.

Art Cars: A New Genre of Creative Expression — In the ever-evolving landscape of contemporary art, the intersection of technology, culture, and personal narrative has given rise to a unique genre: art cars.Ever since its invention, the automobile has had an irresistible pull on the human imagination, and that’s especially true when artists do the imagining. In their visionary hands, motorized vehicles of all kinds become more than simple transportation, luxurious status symbols, or engineering marvels. They become canvases for art and vivid reflections of their cultural moments. The concept of art cars is not entirely new; it can be traced back to the mid-20th century when artists like John Chamberlain and César began incorporating automobile components into their sculptures. However, the contemporary art car movement gained momentum in the 1980s and 1990s, as artists began to view cars not merely as machines but as expressive forms that could convey personal and societal narratives. This shift marked the emergence of the art car as a legitimate medium for artistic exploration.

-Written by Larry Warsh

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Interpol is one of my favorite bands, and I’ve been lucky enough to collaborate with them many times throughout the years, including on their excellent newest release, “This Mirror Weighs a Ton”. I picked up Interpol’s first album, “Turn on the Bright Lights,” shortly after it was released, based purely on the mysterious, film noir-tinted-with-red image on the cover. The music lived up to the seductive promise of the cover, and I soon decided I’d found my new favorite band. I think that art and music together are even more powerful than either individually, so I was very impressed with Interpol’s ability to craft stylish songs and stylish visuals… I wanted to work with them! My first interaction with them was when I stalked them backstage at Coachella 2003 and offered to create art for them if they ever needed it… to my surprise, they knew my work already and decided to take me up on my offer. My first project with Interpol was in 2004 when I created art for “Antics”, the follow-up to their debut album. Ten years later in 2014, I was approached with another opportunity to not only create a print, but also to paint a mural for their fifth studio album, “El Pintor.” The newest album, “This Mirror Weighs a Ton,” is great musically and I was especially excited to add my own spin to their theme of surveillance represented on the album and with its cover and supplementary visuals. My “This Mirror Weighs a Ton” print amplifies Orwell’s dystopian vision of perpetual surveillance with the disturbing future promise of an almost invisible line between the organic and the mechanical. This mirror is black, and it does indeed weigh a ton. Submit with caution!
-Shepard

PRINT DETAILS: This Mirror Weighs A Ton. 24″ H x 18″ W. Screen print on 80# true white Speckletone paper. Signed by Shepard Fairey. Numbered edition of 550. Comes with a Digital Certificate of Authenticity provided by Verisart. $75. Available on Thursday, September 10th @ 10 AM PDT at https://store.obeygiant.com. Max order: 1 per customer/household. International customers are responsible for any applicable import duties, taxes and customs fees due upon delivery, except for UK orders under $160 USD and EU orders.

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I’m excited to be in Asbury Park for a new exhibition presented by Jonathan LeVine Projects and Wooden Walls at Parlor Gallery and The Art Spot, and a DJ set and talk at Sea Hear Now. I’ll also be doing a mural on the boardwalk with PlusOne, the inaugural three-weekend art party produced by Wooden Walls Public Art Projects and supported by funding through the New Jersey Economic Development Authority’s (NJEDA) Activation, Revitalization, and Transformation (A.R.T.) – Phase II Grant Program. I hope to see you at these events! -Shepard

RAW POWER Don’t you try, don’t you try to tell me what to do!
The exhibitions, titled “Raw Power,” are up Sept. 17-Oct. 18. The energy of the Iggy and the Stooges anthem “Raw Power” is woven throughout Shepard Fairey’s music-related art as well as his pro-justice-themed works. Music, with its emotional power and democratic culture, has long been a model for Shepard Fairey’s approach to creating and proliferating accessible art laden with social provocation. The exhibition will showcase over 150 works across the two spaces, including paintings, mixed media works on paper, hand-painted multiples, mono engravings, and prints on wood and metal. Limited edition screen prints, many long unavailable, will also be for sale at the galleries.

Join us here:
The Art Spot on September 17, from 6 PM – 10 PM
Parlor Gallery on September 18, from 6 PM – 10 PM
The Art Spot is open to the public Wednesdays through Sundays from 11 AM until 6 PM; Parlor Gallery is open to the public Mondays, 12 PM – 5 PM, Thursdays, 12 PM – 7 PM, Fridays and Saturdays, 12 PM – 9 PM, and Sundays, 11 AM – 7 PM.

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HENI is delighted to release Troubled Waters, a limited-edition print by Shepard Fairey, Damien Hirst and Invader. The print is based on an original painting by all three artists that was recently on view at the Triple Trouble exhibition at Newport Street Gallery.

Troubled Waters is a Diasec-mounted Giclée print on aluminium composite panel and measures 100 x 145.5 cm. The work is priced at $5,000 (plus applicable taxes) and the edition size is limited to 200 (+ 30 APs). Each print is numbered and hand-signed by all three artists on the label.

In Troubled Waters, Fairey’s tiled papers rigorously blend painterly backgrounds with graphic patterns, and are overlaid with Hirst’s iconic Spot Painting motif of colourful spots organised into a precise grid. These passages are offset by Invader’s pixelated interpretation of Katsushika Hokusai’s The Great Wave off Kanagawa, with his signature Space Invader figure seemingly surfing the wave.

“It’s a really unusual piece in that it doesn’t look exactly like anything any of us have done…so it’s a pretty special piece and it came together very organically.” – Shepard Fairey

“[‘Troubled Waters’ is] on the edge of harmony and chaos, which is what we all love.” – Damien Hirst

“‘Troubled Waters’ perfectly illustrates how we worked on the collaborative artworks for ‘Triple Trouble’. It all started with eight works on paper that Shepard sent to London. Damien decided to assemble them to create a large-format canvas, onto which he overlaid his iconic coloured spots. Finally, I added an Invader surfing a pixelated wave, which inspired the title. We got our piece!” – Invader

The print is available by application until 17:00 BST on 14 September 2026. Visit HENI for more details and to apply to buy.

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Each of us is deeply interconnected and equally impacted by the climate crisis. The distress that environmental destruction creates doesn’t affect just one of us; it affects us all. The need for climate action is urgent, and each of us has a role to play. Watching the destruction of the Nepal flood is both horrific and inevitable unless we act to reverse global warming. I want to help by donating a portion of the proceeds from the Wave of Distress and Eyes Open offsets in my store for the month of September to Project HOPE and the Emergency Response Team on the ground in Nepal. I hope the world can see clearly how climate change is causing environmental destruction on a mass scale and will take steps to help protect the planet and humanity. Thanks for caring, and I send all my love to the people affected by this tragedy. – Shepard

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This poster for the 50th Anniversary tribute to the Ramones’ first album release is based on Danny Fields’ photo for the third Ramones album “Rocket to Russia”, which was released in late 1977. The Ramones had an extraordinary two-year run with their genre-defining self-titled debut, “Leave Home”, and “Rocket to Russia” all coming out in ’76 and ’77! All three albums are incredible and are the only three to feature drummer Tommy Ramone, who also helped with production. I think this photo of the Ramones captures their iconic essence as leather-jacket-and-jeans-clad punk pioneers in grimy mid-70s Lower Manhattan. The first album cover is BXW, “Leave Home” is primarily blue, and “Rocket to Russia” is black and pink, so in this poster I combined those colors to represent the incredible blast of the first three Ramones albums. I first got into the Ramones in 1985, and they quickly became one of my favorite groups. I saw them live in 1988 and 1989, and the shows were non-stop high-intensity action. The Ramones show I saw in the Fall of 1988 at the Living Room in Providence, Rhode Island should have held 500, but in Providence, clubs paid off the cops, and there were probably 1,000 people in the venue. Jane’s Addiction opened up and raised the energy level. When the Ramones came on, the crowd was ready to go nuts. I was near the stage, and the crowd surged forward, compressing everyone so tightly that I thought my ribs would be crushed. I could actually pick my feet off the ground simultaneously without using my hands. The Ramones played non-stop, no breaks between songs for about two hours. The band was super tight. Johnny leaned into the crowd and didn’t even take his leather jacket off for an hour, even though it was sweaty as hell in there. Joey’s hair was in his eyes, but he stayed planted in front of the mic and sounded great. At certain points I felt like I was going to suffocate or be crushed, but I refused to give up my spot right at the front. It may seem weird to say you are having the time of your life fighting for your life, but that’s the only way I can describe that show later in life.
-Shepard

PRINT DETAILS: Ramones 50th. 24″ H x 18″ W. Screen print on 80# cream Speckletone paper. Signed by Shepard Fairey. Numbered edition of 600. Comes with a Digital Certificate of Authenticity provided by Verisart. $75. Available on Thursday, September 3rd @ 10 AM PDT at https://store.obeygiant.com. Max order: 1 per customer/household. International customers are responsible for import fees due upon delivery (Except UK orders under $160).

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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 strategy was to print lots of smaller stickers that I could afford to produce myself and disseminate in a variety of ways. I was fascinated by experimenting with different backgrounds and color combinations for my most prominent images. I love repetition with variation! Over time, stickers have remained a foundational source for my overall art campaign. The icon face became my most recurrent image in 1996 and has persisted as a source of inspiration for some and irritation for others to this day! This screenprint on paper showcases a mesmerizing melange of 24 different Icon Face color combinations and will be sold as a signed and numbered edition of 250 for $75 each.
-Shepard

PRINT DETAILS: Icon (Repetition with Variation). 18″ H x 24″ W. Screen print on 80# cream Speckletone paper. Signed by Shepard Fairey. Numbered edition of 250. Comes with a Digital Certificate of Authenticity provided by Verisart. $75. Available on Thursday, August 27th @ 10 AM PDT at https://store.obeygiant.com. Max order: 1 per customer/household. International customers are responsible for import fees due upon delivery (Except UK orders under $160).⁣

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On Saturday, the crew and I finished this mural refresh at Baller Art Supply on Tracy as part of the Los Feliz mural festival. This replacement for the “Make Art Not War” mural that was decaying follows the same peace theme with new imagery. Thanks to my crew of Rob Zagula, Willem Wolfe, and Jon Furlong, who also shot the photos!
-Shepard

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