Find out more at: ObeyGiant.com

Famed street artist Shepard Fairey has made his mark all over the world with his signature Obey logo, which has landed in places like Tokyo, New York, Mexico City, London, Madrid and practically every nook and cranny that you would least expect to see the artists mark. Levi’s invited Fairey to take part in the design process of a collection centered around the Obey trademark. To observe this special occasion Levis welcomed Shepard Fairey to their flagship store located in New York City’s Times Square district. Shepard was putting up wheatpastes in front of a very jovial crowed cramped in front of the Levis campus.

Source: GRADIENT MAGAZINE

 

 

 

 

 

 

 

 

 

 

Nimbus Vapor is a street art exhibition curated by Ron English featuring 21 of the most influential street artists from all over the world including Saber and Revok of The Seventh Letter.

More info at: Opera Gallery

While checking out RETNA and THE MAC's show at Bergamont Station be sure to check out the Santa Monica auctions Sunday, October 18th, 2009. Featuring original advertising, urban & illustration work in addition to modern & contemporary photography, paintings, sculptures, drawings, mulitples and prints.

Santa Monica Auctions at Bergamot Station Arts Center
2525 Michigan Avenue, D5, Santa Monica, CA 90404
tel. 310.315.1937 fax 310.315.9688
email: info@smauctions.com

Robert Berman
Tel: 310.315.1937
Fax: 310.315.9688

_{This isn’t called the seventh letter because it’s the seventh e-mail (it’s not even that). This is about the legal arm of the largest graffiti crew in the country (probably the world), called The Seventh Letter. Bear with me. This does apply in an abstract way to our business.}

_{While still studying filmmaking at Chapman University (awesome film school by the way – blows USC out of the water), our eldest son Keegan directed a documentary about graffiti titled Piece of Mind. He has always been fascinated with street art of all sorts, from random scribbles to Shepard Fairey, Banksy, and Robbie Conal.  During the filming of the movie he became quite familiar with the artists and ethos involved in graf, and so by extension I did as well (albeit to a much smaller degree). Two crews in particular are featured in his film – MSK and AWR. These guys are the artists (or vandals if you prefer) behind the The Seventh Letter.}

_{The guys who are good at graffiti are amazing artists, all the more so because they do their art at a breakneck pace while perched on a narrow scaffold 30 feet or more above the ground in the wee hours of the night, ducking whenever a car goes by. Granted there are plenty of guys that just make a random mess of everything in sight – but the ones who do it right are beyond.}

_{Where it gets interesting is in the crossroads of art, ethics, money, and law. Back in 2007 there was a fantastic exhibit at the L.A. Museum of Contemporary Art featuring the artwork of Murakami. For those of you not familiar with Murakami, suffice it to say he is kind of the Andy Warhol of Japan, but bigger. MOCA put up huge pink billboards around town promoting the show that basically just said MURAKAMI in big white letters. Two of the MSK guys, Revok and Augor, bombed one of the billboards one night. Murakami saw a photo of the result, then had the billboard taken down and shipped to Japan for his personal collection. Even though it was illegal art Murakami appreciated the beauty of the work.}

_{Have you ever noticed that graffiti on billboards only goes so high? Makes sense when you think about it – the artists can only reach to about a foot over their heads and the bottoms of the billboards are usually at least several feet above the scaffolds.}

_{Now check this out:}

_{Notice that the artist, Augor, has pretty much covered the billboard of There Will Be Blood from top to bottom? How did he pull that off? There is a clue if you look closely. Look at the big wrinkles in the canvas in the lower left hand corner. You get it?  They simply went down to Melrose late one night and actually stole the billboard – or more accurately the canvas that covers it. Ballsy, ya? They then took it to another location where Augor could repaint it ,top to bottom, at his leisure. Then, in the ballingest move ever, they went back a couple of nights later and put it back up!! They didn’t quite have the gear and/or the technique to stretch the canvas completely taut, hence the wrinkles. wThis made the nightly news on Fox – the anchors couldn’t seem to decide whether they were outraged or amused. Look really close at the shoutout at the bottom. Don’t ask.}

_{I tracked down the guy at Paramount Pictures who is in charge of billboard advertising for the studio. Here is the exchange (with his name redacted):}

_{Sent: Wednesday, February 13, 2008 8:05 PM
To: xxxx – Paramount Vantage
Subject: Melrose billboard}

_{Hello xxxx,}

_{I am betting that you are aware of the ‘There Will Be Blood’ billboard}

_{on Melrose just east of Highland and the alteration thereof. I would}

_{like to know what Paramount’s intentions are with this – are you going}

_{to leave it up for the rest of the rental period as is? Are you going}

_{to replace it? And in either case, what will you do with the canvas?}

_{Would you be so kind as to give me a call?}

_{Thank you,}

_{Richard Gibbs}

_{Good Morning Richard}

_{Wondering what your interest is in this, and how you got my contact information?}

_{Have a nice day}

_xxxx

_{Media and Promotions}

_{Paramount Vantage}

_{Hello xxxx}

_{I don’t know if you’re aware, but that guy’s graffiti has become somewhat collectible. There was a piece about that billboard on Fox News Tuesday night that piqued my interest. I am wondering if Paramount will sell it.}

_{To answer your other query – I am a film composer here in town (I’ve actually scored two Paramount pix in the past, amongst 50 others), so I simply asked my agent to find who the marketing guru was at Paramount.}

_{All right, your turn. My questions remain. Call me if you like.}

_Richard

_{Well he never called, so I thought it best not to press my luck. Still wondering what became of that piece – it’s worth a pretty penny in the right (or wrong) circles. Those canvases normally cost about $10,000 each – I was prepared to pay at least that for Augor’s superimposed masterpiece.}

_{Now I’m sure some of you are outraged at graffiti, regardless of the quality. We are talking about destruction (or at least alteration) of private property. But is it really private? Just as Christian Engström of the Pirate Party argues that once a piece of music is published that it belongs to the public, one could make a case that these billboards exist in the public sphere. Why do the billboard manufacturers alone get to alter the public view? Personally I prefer the work the graf artists do over the mass printed ads anyway. I read in the LA Weekly that there are over 4,000 billboards in the city that are illegal – no permits issued for them. So I’d say they are fair game. TDOS indeed!}

_{The Seventh Letter makes and sells t-shirts, hoodies, and some pretty cool jewelry.  They also represent their artists for legit commercial purposes, corporate branding and art gallery shows around the world. Their sites: artist management – www.knowngallery.com; jewelry – www.tslarmor.com; and apparel, skatedecks, and other assorted merch – www.knowngallerystore.com. They don’t make money directly from their art (for the most part) but they do make money by marketing their outlaw image – legally. One of the pro-filesharing arguments is that musicians should do the same. I say they are right – but let’s go all the way. If we can’t make money legally let’s go illegal. Not sure exactly what I mean by that but I’m working on it. Any ideas? These Seventh Letter guys are creating art and making money, thinking outside the law, let alone the box.}

_{Another morsel in this food for thought piece. Revok was playing the newest edition of Grand Theft Auto when something caught his eye. In the desire to establish realism the coders who made the game had scanned in one of his illegal graf pieces. Revok contacted the company behind GTA, claiming copyright infringement – and received a hefty payment for the use of his work.}

_{Strange world we live in, yes?}

_RG

Find out more at TheDayofSharing.com

Artist Shepard Fairey got a big break in his court case involving the city of Boston, but he's not out of the woods yet.

Prosecutors said they dropped 14 vandalism charges against the Los Angeles street artist, who is best known for creating the "Hope" poster for then-presidential candidate Barack Obama. Court papers filed Tuesday revealed that lawyers didn't have enough evidence to prove that it was Fairey himself who placed stickers on signposts and other public property in Roxbury, Mass.

The district attorney for Suffolk County said he still has the option of pursuing 13 other vandalism-related charges against the artist.

Fairey's lawyer Tuesday disputed the numbers, saying 13 charges, not 14, had been dismissed and that his client was still fighting 15 more, according to a report in the Boston Globe.

"We're happy that those cases have been dismissed, and we're looking forward to others being dismissed as well that rely on the same set of facts that these did," the artist's lawyer was quoted as saying.

Fairey, 39, was originally arrested and charged with vandalism on Feb. 6. He is also in the midst of a legal battle with the Associated Press, which claims that the artist violated copyright laws when he used one of its photographs for his "Hope" poster.

Amid the familiar chaos of hammers, nails and art that accompany the yearly transition from Robert Berman Gallery into Santa Monica Auctions, gallery owner and founder of the auctions, Robert Berman was animatedly describing, over the phone, to longtime friend and art collector Cheech Marin the vibrant energy of Carlos Almaraz' 1985 painting, The Boating Party. As Berman finished his conversation, he seamlessly segued into a discussion of Almaraz, "Los Four," the influential Chicano artist collective of the '70s and '80s, and the Chicano art movement he has long championed before discussing the history of his own unique contribution to the Los Angeles art scene.

Robert Berman, who has just opened a new gallery in San Francisco, has been operating Santa Monica Auctions for 25 years. "In 1984, I had a small gallery on Main Street called B1" From there Berman decides to go further back, describing his earlier years in Paris, working with art dealers and auctioneers, living near the core of excitement surrounding the renowned Hotel Drouot. It was here that Berman first experienced the distinct energy of the auction and expertise of the licensed auctioneer. "You were never allowed in France to be an auctioneer unless you had a license and were considered an expert in contemporary art or modern art... I always loved that idea that you were both a dealer and an auctioneer... an expert." Berman recalls this experience as quite different from what he has encountered in the States, where "people sort of look down on auctions until you get to the highest of levels," referring to the established institutions, such as Sotheby's and Christie's, traditionally housed in New York.

However, spending 25 years in a city that isn't exactly known for its thriving auction scene, has given Berman the unique opportunity to create his own style and approach. His first event took place in a little club/bar, and generated notable sales, including a Warhol Marilyn print and a Jasper Johns, that sold for a fraction of their current market value. The auctions now take place in the heart of Bergamot Station. "Hosting the auction within the station adds a welcome bit of energy," notes Samuel Freeman, of Samuel Freeman Gallery also located in Bergamot, adding that it challenges the galleries to compete by continually bringing in new work. For the buyer, Freeman adds "it's paradise, if you've got the scratch."

And that is the topic du jour. The economic climate looms large in '09 and, like changes in the weather, seems to fluctuate on an almost daily basis. Simply put, today's market value has the potential to be quite different from yesterday. Having traveled this territory before, Berman anticipates this concern. After the art boom of the 1980s, the '92-'93 Savings and Loan Crisis came crashing in. During this period, Berman received a phone call from the government to sell the art of the closing banks. "That was an interesting boost... all of a sudden I had these amazing paintings and sculptures that were coming out of the banks in Beverly Hills." For the savvy collector, Berman recalls, "it was an exciting event... and I feel it is on the verge of happening again."

Such opportunities heighten the allure of auctions, as various legal issues – disputes, divorce, dissolution – necessitate the haste and transparency they provide. A prime example, Berman was involved with the '98 liquidation of Rebecca's Restaurant. The landmark eatery was home to Frank Gehry's aquatic menagerie which included crocodiles, fish-lamps, and a fantastical 18-foot-long red, cut-glass octopus chandelier. The latter was acquired by art critic and writer Hunter Drohojowska-Philp. "Robert called and said he had good news and bad news," recalls Drohojowska-Philp who placed an absentee bid on the item, "you won the auction." And the bad news? A "slight modification" to her ceiling was needed in order to support the 2,000 pound carmine colossus.

While Berman prefers the minimalist look for his usual exhibitions, the Salon-style auctions give him a chance to create a completely different story. This is a defining element of the SMA, where the auction is also an exhibition, one full of unexpected juxtapositions, for over a month before the event. "For me it is fun to hang a Manuel O'Campo next to a Wallace Berman next to a Jeffrey Valance next to a Llyn Foulkes," Berman's eyes scan the walls as he describes the seemingly indiscriminate arrangement, continuing with a rising crescendo "...next to Andy Warhol next to
a David Hockney next to an Ed Moses next to a Carlos Almaraz that is on top of a Tony Berlant that is next to a Lichtenstein. Now how does that work together? I don't know... but it looks interesting."

Berman also notes his fortune at having Vivica Pollen, "the most talented auctioneer that I have ever heard," work with him for the past dozen years. Alluding to the dichotomy of the interaction between the crowd and the auctioneer, he noted Pollen's keen ability "to reach out and basically be in sync with all the people who are there potentially to buy art... it is a weird sort of bonding and at the same time acrimony."

This year, Pettibon promises to be a major player, with a rare selection of his early mid-80s work to be auctioned individually, and a collection of twelve hand-printed lithographs titled, Jots and Tittles, featuring handwritten text and an original painting in the portfolio case. Also featured are numerous works on paper, including Oliveira and Winters, a sculptural anime nymph by Murakami, and a large calligraphic painting by "Chaz" Bojorquez, a forefather of the LA graffiti artists. The prize for the year's most unusual entry may be awarded to the Gehry-designed Hollywood Bowl fiberglass sphere, painted by artist Kenny Scharf after being removed from its acoustic origins. Berman, however, delightfully refrained from spilling the dirt on everything he expects to bring in, instead emphasizing, "they'd only just begun."

Santa Monica Auctions will host a preview on Saturday May 30, from 6:00 - 9:00 pm. The auction will take place the following day, Sunday, May 31, beginning at 1:00 pm.

Robert Berman Gallery
2525 Michigan Avenue, D5, Santa Monica, CA 90404
tel. 310.315.1937 fax 310.315.9688
email: info@smauctions.com

source: ART LTD

COLORADO - LOS ANGELES - NEW YORK - WASHINGTON, D.C.

Dates and more info.

April 26 - INDIE SPIRIT FILM FESTIVAL 2009 - MID-WEST PREMIERE
http://indiespiritfilmfestival.bside.com/2009/films

May 4 - LA UNITED FILM FESTIVAL - LOS ANGELES PREMIERE
http://www.theunitedfest.com/losangeles/tickets.htm

MAY 7-10 - POLITICS ON FILM - WASHINGTON, DC PREMIERE
http://www.politicsonfilm.com/

MAY 14 - NYC 92Y TRIBECA - NYC PREMIERE
http://www.92y.org/shop/event_detail.asp?productid=T%2DMM5FM33

Carmichael Gallery of Contemporary Art presents:

"GET RICH QUICK!"

Antony Micallef, Banksy, Barry McGee, Bast, Beejoir, D*Face, Dalek, David Choe, David Choong Lee, Faile, Ian Francis, KAWS, Nick Walker, Paul Insect, Shepard Fairey, Sixeart, Skullphone, Space Invader, Swoon, Will Barras and more to be announced!

Opening reception: Thursday, May 7th 2009 / 7.00pm – 10.00pm

Please RSVP to rsvp@carmichaelgallery.com

Carmichael Gallery
1257 N. La Brea Avenue
W. Hollywood CA 90038
 

Find out more at: GUERILLA ONE | VINTAGE TATTOO | OBEY GIANT

Hi folks. I'm taking another moment on my soapbox here. This time, I'd like to talk about the Boston trial of Shepard Fairey, and why it is bad for Boston, regardless of whether you hate or love him and his work.

This was adapted from a talk that I gave at the Boston ICA on April 4. A large number of people there asked me to publish it or make it somehow available, so as it is a current event, I'm putting on my site so as to make it available quickly.

I was supposed to give attendees of the talk a basic introduction to Shepard Fairey, but took a detour. We have an unusual circumstance. I want to talk about Shepard Fairey and your money; and to start, I'd like to show you a small bit of a poem by Walt Whitman. Just what you expected in a talk about Shepard Fairey, right? Don't worry, it's short.

I do not ask who you are, that is not important to me, 
You can do nothing and be nothing but what I will infold you.

To cotton-field drudge or cleaner of privies I lean, 
On his right cheek I put the family kiss, 
And in my soul I swear I never will deny him.

On women fit for conception I start bigger and nimbler babes. 
(This day I am jetting the stuff of far more arrogant republics.)

To any one dying, thither I speed and twist the knob of the door. 
Turn the bed-clothes toward the foot of the bed, 
Let the physician and the priest go home.

That was a tiny section from Walt Whitman's famous epic poem, Song of Myself, which was published in his masterwork, Leaves of Grass. In 1882, on its publication, Boston authorities banned the book for indecency. They singled out the section I just quoted, presumably because of its veiled references to kissing a dude. Boston authorities would go on to ban Thomas Hardy's Tess of the D'Urbervilles in 1891. In the 20th Century, Boston authorities would go on to ban, or do their best to ban, works by H.L. Mencken, Aldous Huxley, Ernest Hemingway, and even Voltaire's Candide, nearly two hundred years after its publication. Erich Maria Remarque's All Quiet on the Western Front was removed, successfully, as well.

These books were all banned because they were in violation of local law. Their works were removed from shelves because they were illegal.

Yet when you all were in grade school, you probably read some of these works in English class. What was once illegal and obscene became something teenagers have to write a book reports on.

So why am I giving you this little American Literature lesson? Because there's an elephant in the room today: Shepard Fairey will on April 14 again appear in Boston court on vandalism charges for works he allegedly installed in Boston streets. While here preparing for his show here inside the walls of the ICA, he did work in a number of Boston locations, including a banner hanging on City Hall, and many less high-profile spaces.

After posing with none other than Boston Mayor Tom Menino under his banner at City Hall, at the public opening of this show, Shepard was arrested on his way into the building. A small number of Boston police, at the urging of a small activist group from Boston's wealthiest neighborhood, dug up an eight year old bench warrant - given for putting a sticker on a sign pole - tailed him, and moved in. Shepard was made to fly back from his Los Angeles home to face an arraignment a week later. He is charged with 29 felony counts.

29 felony counts.

Neither Whitman, Hemingway, Hardy, or Remarque ever felt Boston police handcuffs. They never faced a penalty of decades of jail time. Shepard has, and does, here and today, this very month, right here in our own home town, while his portraits of the sitting United States President loom next to those of our very own nation's founding fathers in the Smithsonian and upstairs here at the Boston ICA. It's a lot more comfortable to talk about the prosecution of artists when it happened in Whitman's time, but here we are.

29 felony counts.

I mention this today because, at least in my original audience at the Boston ICA, you are all here as art and design professionals and fans of art in our city. We're here because this is our passion, but just as important, our livelihood. We make our money through art and design. And we all know what each of us are up against in Boston. We all know the pay cut that each of us takes to stay here for reasons of loyalty to family or birthplace. And we as a group need to spread the word to all who will hear it that this arrest is destructive to the Massachusetts creative economy.

The specifics of Shepard Fairey's case, what he did, and even what we think of him and his work on an individual basis - these are all irrelevant. Whether you adore his work or feel it is overexposed, plagiarized hipster wallpaper is beside the point. I dislike several things he's done, and several of my closest artist friends abhor the guy. But like or hate, it doesn't matter.

What matters is that his arrest is taking money away from Boston. What is relevant is the effect that his arrest and gratuitous prosecution has on every creative professional here by only reinforcing Boston's reputation as a terrible place to do creative business. What matters is the reputation of our city as an artistic base, because reputation, writ large, is the soil in which our collective businesses grow.

When an institution like the ICA hosts a major show by the most famous artist of the moment at the height of his fame; the eyes of the creative world settle on Boston to gauge if it is where they wish to invest. Shows like this are job interviews for the city. They are Boston's chance to show the world what it is are made of, while the world's eyes have settled on it while we play host to a successful, known quantity. Shepard's opening at the Boston ICA brought substantial numbers of visitors of substantial wealth and influence to town - just in my own small personal circle, I entertained visitors from California, New York, Pennsylvania, Washington D.C., Mississippi, Germany, and Turkey, all of whom were well-to-do people who had traveled to Boston specifically for the show, stayed in Boston hotels, shopped at Boston shops, and ate at Boston restaurants. I even sold a few of my own paintings. These are all taxable dollars coming into our economy, but the legal action taken against Shepard sent every one of these well-to-do, well-connected visitors home shaking their heads at what a culturally backward city Boston is. And you can bet that they will tell their well-to-do, well-connected friends as well.

I can cheerlead for my hometown until my face is blue, but outside investment is fickle and squeamish and does not like uncertainty. And Shepard's arrest gave every brand director, location scout, art collector, ad buyer, and trend spotter reason to be wary of doing business in our city - all the while snickering into their hand and shaking their heads at us. People laugh at Boston for being a city of culturally clueless Puritans, and because of that, business that depends on an audience to the contrary, avoids Boston. This arrest has renewed our subscription to this unfortunate perception.

History invariably excoriates those who prosecute art of any stripe. There is no escape from history's mockery. There's no way around it. History will laugh at us. The details of present - day illegality simply dissolve in the mocking laughter of years down the line.

But what do last are the black eyes on the local creative economy. What lasts is the cloud of hostile uncertainty that any business doing anything creative must operate within in Boston. What lasts is a stench of clueless Puritanism that repels outside investment in our creative businesses. What lasts is the long trail left by the motivated and creative people - young adults raised and educated here with the investment of our own tax dollars - who move away, because making a living in the creative fields in this town is revealed to be a false promise.

This is about money - but it isn't about money we in Boston have, or that others in Boston have that we do not. This is about money that passes Boston by on its way to a better home.

Here's a specific example of how: Immediately after his show opening at the Boston ICA, Shepard appeared in Boston court and returned to Los Angeles for one week until he needed to return to Boston for his arraignment. During that week in Los Angeles, Shepard executed a monumental mural on the side of a theater; a mural featuring Lance Armstrong the great cyclist (and well-respected art collector, I might add) in a project developed by the Nike corporation and Lance's cancer research and awareness foundation Livestrong, of those ubiquitous bracelets. It was a massive media event, and a great thing for all parties, with lots of money moving around.

This is how Los Angeles incorporates an artist like Shepard into its economy when it has one week to do so. But if we in Boston were as forward-thinking, every single dollar that moved around in Los Angeles could have been doing so in Boston. You may not know this, but Boston is actually one of the biggest footwear hubs in the world, with Reebok, Converse, Clarks, Puma, New Balance, and Saucony all calling eastern Massachusetts home, at least for their United States headquarters. Nike's role and the visibility they gained could have been one of theirs. And cancer research? Come on. On one side of the Charles, there's Dana Farber and MGH, among dozens, and on the other, there's Novartis and so many biotech giants operating so far outside of my sphere of knowledge that I can't even pretend to know their areas of research. But I do know that we in Boston sure as heck could have put the world's most famous artist of the moment to better civic and commercial use than adding to the B.O. stink in our holding cells. Did you know Shepard is a diabetic? Well, he is. Could we maybe have teased out a connection there to create a project with any of those health care giants to an end that would be more productive to our local economy instead of cuffing Shepard? I'm just brainstorming here, but I bet we could have.

Instead, we have 29 felony charges. Those 29 felony charges are Shepard's to bear and to deal with, and he will. He has good counsel and plenty of money to address those with. But what begins as an attempt to make an example of Shepard as a vandal who met the law only makes an example of Boston as a city to avoid when investing any culture dollar.

Those charges against Shepard are what keep investors in our businesses - people who we will never meet, people far from Boston - renewing their negative impression of our city. It's those charges' black eyes that we all in this room must live with and do business around. And it's the mockery of students future that we all live in; no different than that with which we look back on in Boston's dealings with Whitman and the artists that followed.

For remember, Whitman's work, and that poem in particular - was illegal by the letter of Boston law as well.

Caleb Neelon

Bad Brains are one of my favorite punk/hardcore groups of all time. If you don’t have their self titled debut, “Rock For Light”, “I Agaist I”, or “Quickness”, they are all essential. I first heard Bad Brains at the beginning of 1984 when my friend lent me the brilliantly curated and titled Alternative Tentacles compilation “Let Then Eat Jellybeans”(A Reagan dessert favorite update to the Marie Antoinette slogan “Let them eat cake”). The Bad Brains song “Pay to Cum” from their first album was on the comp along with songs by Black Flag, The Dead Kennedys, The Circle Jerks, Flipper, etc.. I then went out to find full length records by all those bands. I soon discovered Minor Threat as well, and learned that Bad Brains had influenced their vocalist Ian MacKaye and Black flag vocalist Henry Rollins who were from Washington DC where Bad Brains had started as well. The Bad Brains were also a huge influence for the Beastie Boys. This collaboration ties into almost all of the bands I mentioned because they were almost all iconically shot at various times by photographer Glen E. Friedman. Glen shot a lot of great photos of Bad Brains and a few different shots were spliced together as the reference for this poster illustration. If you don’t know Glen’s work, and you should… go to burningflags.com. This poster is signed by Glen, me, and all the original members of Bad Brains. Keep that PMA.
-Shepard

On sale on 3/26/09 HERE

Be sure to check out BADBRAINS.com and BURNINGFLAGS.com
…or you might miss something you don’t want to miss!

http://blog.seanbonner.com/2009/03/24/glen-e-friedman-x-shepard-fairey-x-bad-brains/

Bad Brains Collaboration Print
Shepard Fairey x Glen E Friedman x Bad Brains
24 x 18, 3 Color Screen Print 
Edition of 425
Signed by Shepard, Glen E Friedman, and all the original members of Bad Brains 
$120