I’ve been a fan of Jello Biafra and Powell Peralta skateboards for almost 30 years! One of my first punk albums was “Plastic Surgery Disasters” by the Dead Kennedys, and I rode several Powell Peralta boards in the 80′s including the Lance Mountain, Mike McGill, Tommy Guerrero, Steve Saiz, and Tony Hawk. I also imitated the way Lance Mountain dressed in the first Bones video because he wore khakis, Vans, and a t-shirt, so since I had to wear khakis to private school, I’d just change into a t-shirt and Vans right after school! When Jello Biafra, who I’ve worked with on a few projects, asked me to design some boards for the Alternative Tentacles record label 33 and1/3 anniversary, I was more than happy to collaborate with all of the players. The image of Jello is based(with a few creative liberties taken) on a photo by Glen E. Friedman. There should be a poster coming soon. The Alternative Tentacles board uses Winston Smith’s awesome A.T. logo as the focal point, with design embellishments by me. Ask for the boards at a skate shop, and look out for the poster in late Dec. -Shepard
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Shepard was invited by the Maus Málaga and the CAC Málaga to paint an 80’ tall x 30’ wide mural in the center of the rising art community here in Málaga. After a long ass flight, crappy airplane food and no sleep, we finally arrived and were greeted with some authentic Spanish food. Slept as much as we could then went straight to work on Sunday morning. Here’s a little taste into our trip and the spanish life style.
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This is the LAST WEEK to view Ravi Zupa: Hard Dream at Subliminal Projects.
Hard Dream is Zupa’s first solo show in Los Angeles and it will be closing on Saturday, November 23rd. The works combine acrylic, pencil, watercolor, india ink, color ink, oil pastel, block print, and silk screen on canvas. The intense, complex results reference various artistic styles and figures from Japanese woodblock prints to Flemish masters to Renaissance portraiture. This base imagery is riddled with contemporary iconography, modern political references, and a tasteful, balanced defacement that also resonates in street art. The art in this exhibition is physically, mentally, and stylistically layered – the product of a truly talented artist whose work you should make the trip to see.
Gallery hours are Wednesday through Saturday from noon to 6 pm and Tuesday by appointment. 1331 W. Sunset Blvd. Los Angeles, CA 90026. Street parking only.
SID: Superman Is Dead
A collaborative exhibition between Dennis Morris and Shepard Fairey
Opening Reception: Friday, December 13 from 8-11pm
Exhibition Dates: December 13 – January 11, 2014
Special opening night musical performance by RITCHIE LOVE featuring: Steve Jones, Billy Idol, Clem Burke, and Leigh Gorman.
($10 suggested donation at the door)
This exhibition will open at SUBLIMINAL PROJECTS on Friday the 13th and will feature collaborative paintings, prints and photographs by Shepard Fairey and British photographer Dennis Morris. An installation of a hotel room Sid destroyed after a night of drinks, drugs, and depression in 1977 will also be on view.
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Shepard will join the likes of Madonna and Bill Maher as a guest lecturer on mtvU’s “Stand In,” paying a surprise visit to a college class on arts and media to discuss his six-part documentary series “Rebel Music.”
When it comes to street art, London’s got Banksy but L.A.’s got Shepard Fairey, whose bold, stark stencils and “Obey” posters are ubiquitous in East Hollywood, Silverlake and Echo Park. Tonight the street artist, whose humble punk-rock scrawlings in the eighties have since grown into a worldwide art enterprise, appears on mtvU’s 24-hour college channel series Stand In. He’ll join a list of past guests like Madonna, Bill Maher and Seth MacFarlane, who paid surprise visits to college classes where they lectured on film, art and media.
Fairey addresses a USC class on New Media for Social Change about Rebel Music, the six-part documentary series he is executive producing with Nusrat Durrani on mtvU. Debuting Nov. 18 at 9 p.m. EST/PST, Rebel Music is a look at musicians and artists around the world who take on the establishment, often at great risk to themselves and loved ones.
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Almost 30 years ago I started skateboarding and listening to punk rock. I’m not sure when I first heard or read the name Jim Muir, but I knew the name of Dogtown, the skateboard company he founded, from shortly after I began skateboarding. Dogtown had pioneered the wide skateboard and was highly respected by all the O.G.’s. In 1984, I also began listening to Suicidal Tendencies, fronted by Jim’s brother Mike, and managed by photographer Glen E. Friedman. I was stoked to discover that Jim and Mike were at the forefront of skateboarding and punk, the two subcultures that changed my life. I have been a Dogtown fan for a long time. I vividly remember the Muir brothers featured together in Thrasher. I rode several Dogtown boards in the 80′s… Scott Oster, Mick Alba, and Eric Dressen. I loved the Dogtown graphics by Wes Humpston and their cross logo. I made a paper-cut stencil Dogtown tee shirt when I was a freshman at art school. At my first Action Sports Retail Trade show in 1995, my booth was right next to Dogtown’s booth and Jim Muir was there. I was too intimidated to say hello, but I hoped he noticed my designs. I later made OBEY tribute graphics to several of my favorite old school skate graphics and the Dogtown Bulldog art was one of the logos I remixed.
Even though I worked on the soundtrack design for the documentary Dogtown and Z-Boys, and we have several friends in common, I did not meet Jim Muir until after he broke his neck surfing in 2009. My friend Glen E. Friedman let me know about Jim’s accident and asked if I’d collaborate with him on a portrait of Jim to raise money for his medical expenses. I was happy to help out a skate icon in need and do another collaboration with Glen. I was very familiar with Glen’s photos of Jim and I knew I could make a cool illustration from the Endless Wave 1977 shot. The prints sold out right away and Jim stopped by my studio to say thanks and hello. I got along with Jim right away and we had a bunch of shared interests in music and art. Jim even mentioned my ASR booth from ’95 and I felt like an idiot for being scared to talk to him. Jim and I kept in touch and one day he let me know that he’d found the actual hand-made board that he was riding in the Friedman shot from ’77. He used it as a template and made some new boards the same way he made them in ’77. He asked if I’d be interested in putting the art I’d made based on Glen’s photo on a run of the boards. Of course, I loved the idea of having the boards come full circle after 36 years! Jim did an amazing job selecting the wood, building the shapes, airbrushing, hand screening, and lacquering the boards. The boards are all signed by Jim, Glen, and me. I’m very proud to be part of this project and grateful to Jim for his hard work.
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I recently made some open edition offset lithos of Power and Imperial Glory because they are two of my favorite newer images and I wanted to make some for the street. A lot of people request these images, so if you missed out on the screen print, here’s a chance to get it as an offset. Cheers.-Shepard
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