Contemporary Arts Center
Shepard Fairey: Supply and Demand
February 20-August 22, 2010
Interested in using contemporary art to help you teach other subjects? The Contemporary Arts Center makes it easy for parents, teachers, and other education professionals to do just that. These classroom presentations use the CAC's exhibitions as a teaching platform for broader subjects such as social studies, history, science and more.
Here is a slideshow presentation of Street Art, with little discussion on its history, differentiation of kinds (e.g. Street Art, Mural Art, Graffiti, and Public Art), various movements, and function of street art. This is presentation is created in attempt to share information and educate people.
Here is a slideshow presentation of Street Art, with little discussion on its history, differentiation of kinds (e.g. Street Art, Mural Art, Graffiti, and Public Art), various movements, and function of street art. This is presentation is created in attempt to share information and educate people.
This is a slidecast of Femme Den: Where Do We Go From Here?, a presentation at the Contemporary Arts Center. The CAC asked Femme Den Co-founder, Erica Eden, and Senior Design Strategist Nathaniel Giraitis what's next for the superstar design group. They talked about the core of Femme Den’s approach, how it’s evolving and how this revolutionary design group influences the sex game.
The Femme Den has been pushing the design industry to think about sex and gender. As a result, the Femme Den and the studio that houses them (Smart Design) work with major brands such as Nike to reconsider how they design products for both male and female consumers.
'Where Do We Go From Here?' is a speaker series inviting global
game-changers to the Contemporary Arts Center to answer one question: Where do we go from here? There are no other rules. Each one is different and each one gets you thinking. This is what contemporary art can do. This is where the curious come out to play.
Open to the Public. FREE with CAC admission
Dhani Jones: November 19, 2010
Andrew Maynard: December 11, 2010
Femme Den: January 24, 2010
Michael Edson: March 7, 2010
Paul Polak: TBD
Rough outline of the workshop and learning objectives.
- What is Poster?
- History of Poster.
- Father of the modern Poster.
- Types of Posters.
- Elements of a Poster Design.
- Principles of Design.
- How to design effective Poster.
- Poster Design Software
- Poster Design quick & basic tips
- Digital & Print version mode (ppi & dpi)
- Output file - ready process.
- Printing Process.
- Types of Paper.
- Types of Lamination.
- Fundamental of Color
> Primary Colors
> Secondary Colors
> Tertiary Colors
> Color Wheel
> Cool Color & Warm Color
- Poster Design Software
> Adobe Illustrator
> Adobe Photoshop
And lots to thing....
Appropriation is an important historical practice in art-making, in which the artist uses a previously existing form, image or sound in new ways. The creative effort is defined by the inspired selection and manipulation of found materials. The end result is a strangely familiar, yet an altogether new creation.
Art for change It is often taken for granted that art f.docxrossskuddershamus
Art for change?
It is often taken for granted that art functions as a tool and a vehicle of social change;
indeed, it was just this theme that we took up in our first discussion board posting. While the
vocal majority seemed to agree that art could foster social change, many of us, when
encountering work such as Warhol’s 200 One Dollar Bills or Marcel Duchamp’sFountain
might find ourselves wondering exactly what type of change such work could really make.
Does a painting that takes money for its subject do anything to unsettle a culture that seems
more and more to place the individual pursuit of money above the needs of the community?
Does a urinal inscribed with a forged signature (see Duchamp’s work mentioned above) do
anything more than offer a paltry challenge to the taste of a leisured class?
It was precisely the complicity of market system art like Duchamp’s and the American Pop
artists like Warhol, Jasper Johns, and Robert Rauschenberg with the oppressive class that
was at the heart of a 1973 protest staged in front of another landmark Sotheby’s auction. On
that October day a group of New York City taxi drivers and artists stood before the renowned
auction house to call down Robert C. Scull who they claimed made his fortune robbing
cabbies and hawking art. Some of the artists marching in solidarity with the taxi cab drivers
rushed out to a nearby hardware store to by a snow shovel to sell at exorbitant price, poking
fun at Duchamp’s In Advance of the Broken Arm. Is this critique of art’s complicity with big
money an apt one?
The idea that the art market is synonymous with ‘business as usual’ is an idea that is as
pervasive today as ever—if not more so. As Eleanor Heartney reminds us in her lecture on
art and labour, one move made by activists of the recent Occupy Wall Street movement was
to set up occupations in a number of New York City’s museums. The organizers of the
Occupy Museums march declared in a public statement that “for the past decade and more,
artists and art lovers have been the victims of the intense commercialization and co-optation
or art.” They further claimed that “art is for everyone, across all classes and cultures and
communities” and not merely for the cultural elite, or the 1%. The artist activists closed their
statement by exhorting museums to open their minds and their hearts: “Art is for everyone!”
they claimed. “The people are at your door!”
These two protests demonstrate an abiding and perhaps growing suspicion of the received
idea that market system art can change things. But while market system art is placed under
intense scrutiny, a growing field of artists and educators have been working to disseminate
the practices and techniques of art making in order to sow the seeds of change. This
community based art (sometimes referred to as ‘dialogical art’ or ‘community arts’) seeks to
place in the hands of the marginalized, the worker, or, in the words of the.
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Art for change It is often taken for granted that art fBetseyCalderon89
Art for change?
It is often taken for granted that art functions as a tool and a vehicle of social change;
indeed, it was just this theme that we took up in our first discussion board posting. While the
vocal majority seemed to agree that art could foster social change, many of us, when
encountering work such as Warhol’s 200 One Dollar Bills or Marcel Duchamp’sFountain
might find ourselves wondering exactly what type of change such work could really make.
Does a painting that takes money for its subject do anything to unsettle a culture that seems
more and more to place the individual pursuit of money above the needs of the community?
Does a urinal inscribed with a forged signature (see Duchamp’s work mentioned above) do
anything more than offer a paltry challenge to the taste of a leisured class?
It was precisely the complicity of market system art like Duchamp’s and the American Pop
artists like Warhol, Jasper Johns, and Robert Rauschenberg with the oppressive class that
was at the heart of a 1973 protest staged in front of another landmark Sotheby’s auction. On
that October day a group of New York City taxi drivers and artists stood before the renowned
auction house to call down Robert C. Scull who they claimed made his fortune robbing
cabbies and hawking art. Some of the artists marching in solidarity with the taxi cab drivers
rushed out to a nearby hardware store to by a snow shovel to sell at exorbitant price, poking
fun at Duchamp’s In Advance of the Broken Arm. Is this critique of art’s complicity with big
money an apt one?
The idea that the art market is synonymous with ‘business as usual’ is an idea that is as
pervasive today as ever—if not more so. As Eleanor Heartney reminds us in her lecture on
art and labour, one move made by activists of the recent Occupy Wall Street movement was
to set up occupations in a number of New York City’s museums. The organizers of the
Occupy Museums march declared in a public statement that “for the past decade and more,
artists and art lovers have been the victims of the intense commercialization and co-optation
or art.” They further claimed that “art is for everyone, across all classes and cultures and
communities” and not merely for the cultural elite, or the 1%. The artist activists closed their
statement by exhorting museums to open their minds and their hearts: “Art is for everyone!”
they claimed. “The people are at your door!”
These two protests demonstrate an abiding and perhaps growing suspicion of the received
idea that market system art can change things. But while market system art is placed under
intense scrutiny, a growing field of artists and educators have been working to disseminate
the practices and techniques of art making in order to sow the seeds of change. This
community based art (sometimes referred to as ‘dialogical art’ or ‘community arts’) seeks to
place in the hands of the marginalized, the worker, or, in the words of the ...
Running Head: HIP-HOP AND FASHION 1
HIP-HOP AND FASHION 5
Topic: Hip-hop music is an integral aspect of setting fashion trends across the world.
“Hip-hop” is a very complicated culture which traces its roots way back when it was introduced. It is mostly associated to African Americans since it is believed to have originated in the late 1970’s.It was associated to African Americans who were economically depressed in South Bronx section of New York City. It is described as complex because the term ‘hip-hop” comprises of four elements which are, “delaying, rapping, rhyming, graffiti painting and b-boying.” It is also regarded as a culture which promotes fashion, music, visual art, language and expression. Hip-hop as a genre is accompanied with its important position in world history, in order to be able to understand it evolution, it should be noted that it has its own heroes and legends. Furthermore it also has its accomplishments and also downfall. Due to how hip-hop originated most African Americans feel like they have a duty to protect their identity as blacks in America. Comment by Laurel Duchowny: This is a pretty good introduction to hip hop, but what is your question? What are you going to attempt to explain with application of theory? State this clearly in your first paragraph.
Over the years hip-hop has been viewed as a significant contributor towards fashion, hip-hop started influencing fashion since the 70’s and continued to thrive up to the 1990s.Furthermore, currently in the 21st century its influence is still felt and it has advanced to better designs inspired by “hip-hop”. The documentary by Netflix, ”Hip-Hop Evolution” also managed to give a clear picture of how “hip-hop” emerged from New York this is illustrated through the childhood memories which explained how the genre advanced even in terms of fashion influence. The movie also inspired designers such as Marc Jacobs who sent models who had the foundation of youth culture street style. This demonstrates how hip-hop and high fashion were recognized as intertwined and has continued to be appreciated in our current times.
During the 80s and 90s prominent hip-hop personalities began showcasing their personal style as hip-hop stars. The stars were such as Salt-N-Pepa, Run-DMC, LL Cool J among other hip-hop artists. However this trend has continued to advance among recent hip-hop stars. For instance Kanye West who is a celebrated hip-hop artist is behind the much hyped Yeezy line. Artist like ASAP Rocky has also played a role in promoting Dior Homme and Calvin Klein accessories in advertisements. The theory of Bourdieu has had a big impact on social theory and how it brings out a better understanding on sociology and.
Similar to CAC in the Classroom: Shepard Fairey (20)
2. Within the last twenty years, Shepard
Fairey has become one of the most
influential street artists of our time. Born
in Charleston, South Carolina, his initial
interests include skateboarding, punk
rock, and drawing. It was in tenth grade
when Fairey produced self-made punk
rock t-shirts that started his ongoing
relationship with the silk-screen
technique. He pursued his interest in art
at the Rhode Island School of Design
where he launched his “Obey Giant”
street campaign that attracted popular
urban attention.
3. Fairey’s work combines silk-screening and
graphic techniques producing stickers,
clothing, skateboards, posters, stencil-
based graffiti, and film. By reproducing his
original images, Fairey is able to circulate
and communicate his ideas to the mass
public. He reutilizes a propagandistic
approach, influenced by counter-cultural
revolutionaries, the urban street art scene,
rap and punk rock musicians, often visible
in his conservative use of color and
stenciled images.
Loaded with political insinuations, Fairey’s
practices obscure the line between fine
and commercial art, asking his audience to
question the effects of the media and their
societal surroundings. The artist currently
lives and works in Los Angeles where he
also manages his founded design firm,
Studio Number One.
4. Shepard Fairey, “OG Sticker,” 1989
As a street artist by nature, Shepard Fairey’s graphic designs use familiar imagery and
icons that readily communicate to the masses. Fairey unintentionally stumbled upon a
picture of Andre the Giant while flipping through a newspaper and spontaneously
decided to use the icon as an ironic symbol for his skateboarding posse. After
recontextualizing the image by stenciling and adding text to the original copy, Fairey
reproduced his logo into hand-sized stickers and thereby circulated his creation within
the urban circle.
5. Shepard Fairey, “Guns and Roses,” 2007
Although Fairey’s work has been
around for over twenty years, he has
loitered under the radar and avoided
institutional recognition prior to his
posters for the Obama campaign. He
has been commissioned to design
several album covers and posters for
musicians such as Led Zeppelin, Black
Sabbath, Queens of the Stone Age, the
Smashing Pumpkins, the Black-Eyed
Peas, and Guns and Roses, to name a
few. Unlike many other historically
renowned art masters, Fairey employs
what he calls a “populist agenda,”
utilizing consumer products and urban
display as his canvases. He views his
art as “bureaucracy free,” that reuses
recognizable symbols and motifs. By
creating album covers and reproducing
posters and stickers, Fairey avoids
elitism and reaches the common
pedestrian.
8. Fairey’s initial practices in street art and graffiti reflect his advocacy for
noncommissioned public displays that inevitably develop immediate relationships
with pedestrians. unsolicited forms of expression fundamental priorities concern
underground personal expression, demonstrated through street art and graffiti
practices, that advocate
From the beginning, Fairey practiced street art and graffiti, reflecting his fundamental
interests in noncommissioned public expression that creates an immediate relationship
with the urban society. Many of his murals are plastered on urban walls in cities such as
New York City and Los Angeles.
Shepard Fairey, “Toxic Inspector,” in West Village, New York City, 2008
9. “True graffiti to me, is just putting work you want out on
the street for everyone to see without compromise. No
government censorship, no gallery owner to reject you.
It’s about a pure uncompromised manifestation of your
art and ideas whether people like it or not.”
-Shepard Fairey
Shepard Fairey, “Asian Girl,” on Chrystie Street, New York City, 2009
10. Shepard Fairey street art, “Duality of
Humanity,” Washington, D.C., 2009
“It’s important to do things for
people who don’t necessarily
see the value of an elitist art
world endeavor. I make art to
communicate with as many
people as possible, and the
more universal I can make it,
the better.”
-Shepard Fairey, “Shepard Fairey,
Citizen Artist,” in Progressive
Magazine, by Antonino D’Ambrosio
11. Shepard Fairey, “Obey Icon,” 1995
In subsequent years, after his initial
“Andre the Giant” campaign, Fairey
reworked his icon by reducing the original
slogan to “Obey Giant” and referencing
Russian constructivist style. His concise
reconfiguration proved more recognizable
and efficient for public circulation, thereby
exemplifying what he calls “absurdist
propaganda.”
The icon’s increased recognition
demonstrated the shifting value and social
life that every image develops in relation
to its public surroundings. Consequently,
the artist adopted the word “Obey” as his
personal brand, tagging the slogan onto
many future works.
Fairey explains that in a society
“motivated by symbols,” his mass-
produced Obey Icons signify the “power
of propaganda” over the interactive public.
-Shepard Fairey, “Art and Culture,” written by Carlo
McCormik in Juxtapoz Magazine, 1998
12. Shepard Fairey, “Make Art, Not War,” print, 2004
Much of Fairey’s work is inherently
political, commenting on both the
national and international social state.
His work is very confrontational,
sometimes directly stating his message
and other times satirizing contemporary
society and politics. By reusing his
coined symbols and motifs, such as the
“Obey Icon,” Fairey continues to address
the inevitable influence of propaganda,
while quoting his work’s past effect on
consumer culture.
14. Shepard Fairey, “All City Propaganda,” print, 2006
“You can call Warhol a graphic-art style
with some painterly flourishes—you could
say the same about my fine art style.”
-Shepard Fairey, in “Shepard the Giant,” by Stephen
Heller, in The New York Times
Not only does Fairey’s style recall Andy
Warhol’s aesthetic approach, but some of
his works are a direct reaction to Warhol’s
message and effect on twentieth-century
art. Fairey understands the heavy
influence of the media and propaganda on
contemporary society, and thereby utilizes
a similar style. He wishes to communicate
in a lucid language in hopes of
immediately captivating everyday
pedestrians. Likewise, his propagandistic
approach is Fairey’s way of commenting
on the ongoing manipulation of consumer
culture and society’s close dependency on
the media.
16. Shepard Fairey, “Two Sides of Capitalism: Bad,” 2007
The majority of Fairey’s political work shares his distaste for American
capitalism. In many cases, he utilizes the visual language of the very
subjects he critiques, thereby forcing viewers to question their habitual
behavior and challenge the cultural paradigm.
17. Shepard Fairey, “Obama Hope,” 2008
Perhaps most renowned for his “Obama
Hope” poster, Fairey’s fame skyrocketed
within the past two years during President
Obama’s election campaign. Aside from the
Time and Esquire magazine covers, the
artist’s reproduced icon has infiltrated urban
societies throughout the country.
Unlike his previous works that typically
practiced political satire and social critique,
Fairey’s Obama posters introduced a new
optimistic voice. They carry no hidden irony,
but rather demonstrate his support for the
candidate in hopes of spurring populist
advocacy during election campaigns.
Just recently in January 2009, the
Smithsonian Museum hung a hand-finished
version in the National Portrait Gallery—an
honor awarded to individuals who have made
a significant contribution to U.S. culture.
Fairey’s image hangs aside many other iconic
portraits of previous presidents who have
shaped American history.
18. Shepard Fairey making the “Obama Hope” poster, 2008
“Your images have a profound effect on people,
whether seen in a gallery or on a stop sign.”
-President Obama’s letter to Shepard Fairey,
February 22nd, 2008
19. “I’m a populist—I’m trying to reach as many people as possible.”
-Shepard Fairey, “Outlaws at the Art Museum,” by Randy Kennedy, in The New York
Times
20. Shepard Fairey, “Inauguration Print,” 2009
Due to the success of his
campaign posters and Obama’s
appreciation for the artist’s
activism, Fairey was
commissioned to design a poster
advertising Obama’s 2009
inauguration.
21. Shepard Fairey, “Marilyn Warhol,” 2000
In response to the many critiques Fairey
receives for reconstructing pre-
conceived images, Fairey explains that
every creator must be “inspired by
something and make an evolution”—in
other words, a creator must “build on
ideas.” As a graphic artist, he realizes
his responsibility to communicate clearly,
and thereby exercises the vernacular of
the moment.
-Shepard Fairey, “A.V. Club Interview,”
By Justin Shady
However, while utilizing visual
paradigms, Fairey also confronts the
media’s ruthless exploitation that
inevitably yields profit. He hopes that his
propagandistic imagery will inspire
individuals to question the media’s
overwhelming impact on society.
22. The growing recognition for Shepard
Fairey’s work has not only redefined
society’s definition of “art,” but also
sanctified street art to a different
level. Fairey has challenged the
exclusivity of western art institutions,
thereby revolutionizing a new
appreciation for both street art and
propagandistic approaches.
Despite his recent exhibitions in
various art galleries, he continues
gracing urban walls while creating
other consumerist work. All the while,
he remains faithful to the
fundamental incentives behind his
expression: to “stimulate curiosity”
and “question everything.”
-Shepard Fairey
Shepard Fairey, “Immigration Reform Now!” 2009