Shepard Fairey 🇺🇸 New Print Release • For Sale • Wanted, by Whitefish on Mar 30, 2016 5:47:34 GMT 1,

American Rage

2020

Signed and Numbered

Edition of 550

This “American Rage” print, based on a photo taken during the LA riots of spring 1992, is my second collaboration with photographer Ted Soqui. I was introduced to Ted’s work when I made an illustration based on one of his photos of an Occupy Wall Street protester. Ted has a long history of photographing activists and protests, which began in the aftermath of the “not guilty” verdicts on April 29, 1992, for the four officers who severely beat Rodney King. I remember at the time, 28 years ago, feeling enraged that such a blatant act of police brutality was going unpunished when it was clearly captured on video. It is heartbreaking to me how frequently similar acts of violence and abuse of power by law enforcement have gone unpunished, even when caught on camera. I don’t ever condone violence or looting, but I understand why LA erupted in riots and protests after the King verdict. When people feel that the American system has failed them over and over, things can reach a boiling point. The urge to protest injustice and the right to do so are legitimate. Looting is not legitimate. The LA riots were a tragic mixture. However, beware of those who try to conflate protest with “criminal agitation” or “inciting a riot.” When the system fails the people, it is nothing short of patriotic for the people to protest for a solution. Ted Soqui and I sign the “American Rage” print. A portion of proceeds will benefit WLCAC (Watts Labor Community Action Committee). Edition of 550. $70. -Shepard

The Watts Labor Community Action Committee (WLCAC) has been working with people in Watts to improve the quality of life since 1965. They hold the hands of people in need by providing a place to sleep, food to eat, and money to earn. Through the commitment of dedicated staff and volunteers, the WLCAC has helped more than 30,000 people in need over the last 45 years.

Flag Bandana and the L.A. Riots

In April 1992 I photographed week of rage. The Los Angeles Riots was the culmination of institutionalized police violence and a justice system that failed to represent minority and working class residents.

At the time I had been covering the shooting death of 15-year-old African-American girl Latasha Harlins by a Korean-born liquor store owner, and the beating of Rodney King by LAPD officers. Both of those events had been taped and were being constantly replayed in the media. I photographed several resulting protests against the police in South Central Los Angeles, most of them calling for the removal of then L.A. Police Chief Daryl Gates and all of them including chants of “f**kTHE POLICE” taken from song “f**kTha Police” by NWA.

On the afternoon of April 29, 1992, I was at the courthouse in Simi Valley awaiting the verdict of the four LAPD officers who beat King. The verdict dropped — not guilty, times four — and the city burned into the night. For three days and nights I roamed the streets of L.A. trying to cover the mayhem of a large-scale rebellion. I attempted to cover everything I could without getting attacked and robbed for my cameras; many of my colleagues were beaten and robbed for their gear. I photographed during the daytime and early evenings, and processed my images at home in a makeshift darkroom at night. Most of the camera stores and labs were closed burned or looted, and a dusk to dawn curfew had been imposed on the city.

Aug. 21, 2014: The flag bandana wearer was someone I found as a popular subject. Days before this demonstration in South Central Los Angeles., there had been a police shooting in Ferguson, Mo. That city was about to experience rebellion much like L.A. had 22 years earlier.

Many of the protests and demonstrations I now photograph are related to what was happening back in the early 1990s: police violence against young black men, lack of minority and working class representation in the criminal justice system, poverty and lock of quality education and jobs for the residents of South Central Los Angeles.

I was drawn to the striking visual of this young demonstrator speaking out against a rise in shootings of black men by LAPD officers and Los Angeles County Sheriff’s deputies. Often protests have an anonymous core of participants who wear bandanas not only to protect themselves from tear gas but also to make a visual statement. Movements around the world, from Chiapas to Hong Kong, have adopted mask-wearing for the same reasons. This particular mask was both a cover and a shield, and a direct reflection of the events I witnessed in 1992.
-Ted Soqui

KNOWLEDGE + ACTION

2018

signed and numbered

edition of 350

I created this art previously but never released it as a print until now. For this new version, the message reads Knowledge + Action = Power. The text, ”The Future Is Unwritten” was inspired by a quote from Joe Strummer of The Clash. The flower growing from the barbed wire in my art piece is symbolic of the negative being overcome by the positive, a visual metaphor for hope in the unwritten future. - Shepard

LATE HOUR RIOT
2017
Signed by Shepard Fairey and Dennis Morris
Edition 450



I’ve been a fan of Dennis Morris’ photography of people like the Sex Pistols and Bob Marley for many years but I only recently discovered the photos from his series “Growing Up Black.” I love Dennis’ photos from his neighborhood in London so when he asked me to collaborate on a piece inspired by a song by his band Basement 5, I wanted to find a connection between a Basement 5 lyric and a photo from the “Growing Up Black” series. The lyrics to the song “Riot” made sense with his photograph of Sista Cool anxiously living in a world of police and thieves reflected in her glasses. Check out Basement 5 if you can… the great tunes are in the spirit of the Slits, the Clash, and Public Image Ltd (PiL). Art and music are great on their own, but even better together! – Shepard

In the small hours of the night,
With unrest on the streets,
Sista Cool will pray for your soul,
There is a riot going on,
Kids on the street, with itchy feet.

With the reissue of my Basement 5 album, this title is a reference to a diary of events that happened in my youth from 1965-1980. Shepard and I collaborated to create a poster that refers to a track from the album called “Riot.” – Dennis

Basement 5 were a reggae punk band from London founded in 1978. In 1979, legendary photographer Dennis Morris took over as creative force, lead vocalist, lyricist, and designer of the Basement 5 logo and branding. Fusing their own experiences with punk rage and dub-wise rhythms, together the band explored themes of alienation, 70’s inner-city existence, and what it was like to be a second-generation immigrant.
Their debut album, 1965-1980, takes its title from the year Morris arrived from Jamaica to its recording in 1980. Although reissued on CD some twenty years ago, the album has since languished in the vaults until now. 1965-1980, including its companion In Dub, was released through label Play It Again Sam (PIAS) in October of 2017.








Artist For Freedom

Screen Print signed and numbered

edition 400
released 5/12/15

"Philippe Vergne from MOCA asked me if I would be willing to work on not only the graphic design identity system for the MOCA/Sotheby’s Spring auction, but to also create a fine art piece for the auction that relates to the design for the auction itself. I was excited to explore this concept because we live in a culture of compartmentalization but I believe that things are far more fluid between the fine art and design worlds than many gatekeepers are willing to acknowledge. Of course all of this was in service of an institution I believe does a lot for artists and should be supported by artists. This led to the concept of symbiotic support and creative freedom for the institution and the artists themselves facilitated by this symbiosis. My screen print is based on the painting I created for the auction, once again playing into the concept by yielding a more graphic version of a fine art piece but with a clear relationship to it and a lower price tag. I’m a populist so all of this works for me, hope it does for you."

– Shepard

American Rage

2020

Signed and Numbered

Edition of 550

This “American Rage” print, based on a photo taken during the LA riots of spring 1992, is my second collaboration with photographer Ted Soqui. I was introduced to Ted’s work when I made an illustration based on one of his photos of an Occupy Wall Street protester. Ted has a long history of photographing activists and protests, which began in the aftermath of the “not guilty” verdicts on April 29, 1992, for the four officers who severely beat Rodney King. I remember at the time, 28 years ago, feeling enraged that such a blatant act of police brutality was going unpunished when it was clearly captured on video. It is heartbreaking to me how frequently similar acts of violence and abuse of power by law enforcement have gone unpunished, even when caught on camera. I don’t ever condone violence or looting, but I understand why LA erupted in riots and protests after the King verdict. When people feel that the American system has failed them over and over, things can reach a boiling point. The urge to protest injustice and the right to do so are legitimate. Looting is not legitimate. The LA riots were a tragic mixture. However, beware of those who try to conflate protest with “criminal agitation” or “inciting a riot.” When the system fails the people, it is nothing short of patriotic for the people to protest for a solution. Ted Soqui and I sign the “American Rage” print. A portion of proceeds will benefit WLCAC (Watts Labor Community Action Committee). Edition of 550. $70. -Shepard

The Watts Labor Community Action Committee (WLCAC) has been working with people in Watts to improve the quality of life since 1965. They hold the hands of people in need by providing a place to sleep, food to eat, and money to earn. Through the commitment of dedicated staff and volunteers, the WLCAC has helped more than 30,000 people in need over the last 45 years.

Flag Bandana and the L.A. Riots

In April 1992 I photographed week of rage. The Los Angeles Riots was the culmination of institutionalized police violence and a justice system that failed to represent minority and working class residents.

At the time I had been covering the shooting death of 15-year-old African-American girl Latasha Harlins by a Korean-born liquor store owner, and the beating of Rodney King by LAPD officers. Both of those events had been taped and were being constantly replayed in the media. I photographed several resulting protests against the police in South Central Los Angeles, most of them calling for the removal of then L.A. Police Chief Daryl Gates and all of them including chants of “f**kTHE POLICE” taken from song “f**kTha Police” by NWA.

On the afternoon of April 29, 1992, I was at the courthouse in Simi Valley awaiting the verdict of the four LAPD officers who beat King. The verdict dropped — not guilty, times four — and the city burned into the night. For three days and nights I roamed the streets of L.A. trying to cover the mayhem of a large-scale rebellion. I attempted to cover everything I could without getting attacked and robbed for my cameras; many of my colleagues were beaten and robbed for their gear. I photographed during the daytime and early evenings, and processed my images at home in a makeshift darkroom at night. Most of the camera stores and labs were closed burned or looted, and a dusk to dawn curfew had been imposed on the city.

Aug. 21, 2014: The flag bandana wearer was someone I found as a popular subject. Days before this demonstration in South Central Los Angeles., there had been a police shooting in Ferguson, Mo. That city was about to experience rebellion much like L.A. had 22 years earlier.

Many of the protests and demonstrations I now photograph are related to what was happening back in the early 1990s: police violence against young black men, lack of minority and working class representation in the criminal justice system, poverty and lock of quality education and jobs for the residents of South Central Los Angeles.

I was drawn to the striking visual of this young demonstrator speaking out against a rise in shootings of black men by LAPD officers and Los Angeles County Sheriff’s deputies. Often protests have an anonymous core of participants who wear bandanas not only to protect themselves from tear gas but also to make a visual statement. Movements around the world, from Chiapas to Hong Kong, have adopted mask-wearing for the same reasons. This particular mask was both a cover and a shield, and a direct reflection of the events I witnessed in 1992.
-Ted Soqui

KNOWLEDGE + ACTION

2018

signed and numbered

edition of 350

I created this art previously but never released it as a print until now. For this new version, the message reads Knowledge + Action = Power. The text, ”The Future Is Unwritten” was inspired by a quote from Joe Strummer of The Clash. The flower growing from the barbed wire in my art piece is symbolic of the negative being overcome by the positive, a visual metaphor for hope in the unwritten future. - Shepard

LATE HOUR RIOT
2017
Signed by Shepard Fairey and Dennis Morris
Edition 450



I’ve been a fan of Dennis Morris’ photography of people like the Sex Pistols and Bob Marley for many years but I only recently discovered the photos from his series “Growing Up Black.” I love Dennis’ photos from his neighborhood in London so when he asked me to collaborate on a piece inspired by a song by his band Basement 5, I wanted to find a connection between a Basement 5 lyric and a photo from the “Growing Up Black” series. The lyrics to the song “Riot” made sense with his photograph of Sista Cool anxiously living in a world of police and thieves reflected in her glasses. Check out Basement 5 if you can… the great tunes are in the spirit of the Slits, the Clash, and Public Image Ltd (PiL). Art and music are great on their own, but even better together! – Shepard

In the small hours of the night,
With unrest on the streets,
Sista Cool will pray for your soul,
There is a riot going on,
Kids on the street, with itchy feet.

With the reissue of my Basement 5 album, this title is a reference to a diary of events that happened in my youth from 1965-1980. Shepard and I collaborated to create a poster that refers to a track from the album called “Riot.” – Dennis

Basement 5 were a reggae punk band from London founded in 1978. In 1979, legendary photographer Dennis Morris took over as creative force, lead vocalist, lyricist, and designer of the Basement 5 logo and branding. Fusing their own experiences with punk rage and dub-wise rhythms, together the band explored themes of alienation, 70’s inner-city existence, and what it was like to be a second-generation immigrant.
Their debut album, 1965-1980, takes its title from the year Morris arrived from Jamaica to its recording in 1980. Although reissued on CD some twenty years ago, the album has since languished in the vaults until now. 1965-1980, including its companion In Dub, was released through label Play It Again Sam (PIAS) in October of 2017.








Artist For Freedom

Screen Print signed and numbered

edition 400
released 5/12/15

"Philippe Vergne from MOCA asked me if I would be willing to work on not only the graphic design identity system for the MOCA/Sotheby’s Spring auction, but to also create a fine art piece for the auction that relates to the design for the auction itself. I was excited to explore this concept because we live in a culture of compartmentalization but I believe that things are far more fluid between the fine art and design worlds than many gatekeepers are willing to acknowledge. Of course all of this was in service of an institution I believe does a lot for artists and should be supported by artists. This led to the concept of symbiotic support and creative freedom for the institution and the artists themselves facilitated by this symbiosis. My screen print is based on the painting I created for the auction, once again playing into the concept by yielding a more graphic version of a fine art piece but with a clear relationship to it and a lower price tag. I’m a populist so all of this works for me, hope it does for you."

– Shepard