Shepard Fairey is most well know for his signature tag of Andre the Giant pro wrestler.Hulu has just released a new documentary about Shepards message and philosophy about his years of street art, politics and and why it means more than ever in todays political climate. With Brexit and Trump being elected president the movement Shepard started out being inspired by is now the being inspired by his contributions more than ever.

Obey Giant takes us deep into the underground world of street art, profiling the rise of artist Shepard Fairey from his roots in punk rock and skateboarding, to presidential politics—through his iconic Obama “HOPE” poster and the controversy that surrounded it. From Academy Award-winning filmmaker James Moll and Executive Producer James Franco, Obey Giant is streaming November 11, only on Hulu.

Shepard Fairey: Have we lost the 'street' in street art? When your a street artist its not only creating the artwork. Its being able to hang that artwork on a giant building in the middle of the night while evading the police. A great street artist learns to be stealth in his or hers movements. First Putting a set of headphones with some Bestie Boys on your iPod underneith your hoodie. Then while Sabotage soundtracks your midnight marauding you climb up the side of a building by way of the fire escape to the roof. Then its measuring the location by moonlight only as to prevent being detected by law enforcement. Hanging your giant stenciled murals is what all the preparation to this moment has been about. So when sunrise comes and the city is awaken by all those on those on they're boring morning commute they see this enormous piece of artwork in the public space that was once just a blank space. Each city has its own laws and views about public spaces and street art. Vienna Austria for example have a old saying that Vienna is a place to be see and be seen. I know because I have traveled there and spent a lot of time in the art galleries and the 48 public parts that exist in just the first district alone of then city. In Boston where Shepard is from they had a different attitude about street art and those who took part in hanging it.

The first film by renowned graffiti artist Banksy, became the hottest ticket at the 2010 Sundance Film Festival where it made its world debut. Banksy is a graffiti artist with a global reputation whose work can be seen on walls from post—hurricane New Orleans to the separation barrier on the Palestinian West Bank. Fiercely guarding his anonymity to avoid prosecution, Banksy has so far resisted all attempts to be captured on film. Exit Through the Gift Shop tells the incredible true story of how an eccentric French shop keeper turned documentary maker attempted to locate and befriend Banksy, only to have the artist turn the camera back on its owner with spectacular results. The film contains exclusive footage of Banksy, Shepard Fairey, Invader and many of the worlds most infamous graffiti artists at work, on walls and in interview. As Banksy describes it, Its basically the story of how one man set out to film the un—filmable. And failed

Watch the full movie "Exit through the gift shop " for free by clicking the above photo.


Banksy has been living in New York City and has staged a series of street pieces in an ongoing public exhibit he is calling, "Better Out Than In," with exhibits including a meat truck full of stuffed animals labeled, "Farm Fresh Meats," and a vendor in Central Park selling authentic canvases by the artist for $60. We look at video of the elusive artist's installations and discuss the one man art wave on the Lip News with Lissette Padilla and Mark Sovel.

Shepard Fairey Talks "Hope", "Obey" & Art.

Shepard Fairey rose to prominence with his iconic Obama "Hope" poster. His new book "Covert To Overt" is available now.

The thing about Shepard Fairey is: He refuses to obey. The street artist and graphic designer who created the “Hope” poster during Barak Obama’s 2008 presidential campaign is the subject of the Hulu documentary “Obey Giant,” premiering Saturday. The movie, directed by Oscar-winning filmmaker James Moll and executive-produced by James Franco, chronicles Fairy’s personal story, from his Charleston, S.C., skate-scene roots to his rise as a veritable brand of iconoclasm. It also explores the wider world of street art and how it intersects with activism, punk rock and politics. Which begs the question:

To me, it’s all valid in different ways. I’ve been asked to have my stuff in any number of commercial applications that I’ve turned down because it wasn’t true to my sensibility. But then, I’ve also done things that other street artists say “Oh, I’d never do that, I’d never have a clothing line.” But to me, everyone gets up and puts clothing on. And if the clothing is a way of sharing my ideas, my aesthetic, and it’s also a gateway to the rest of my practice, then in some ways it’s a subversive way of infiltrating the mainstream. I guess it comes down to your perspective.

People get numb to anything that is predictable. Street art has some cliché aesthetics, like stencils or drips or tags or any number of things you associate with the medium. But street art is evolving all the time. So I think the power for street art to impact people is always gonna be there. It’s just a matter of finding a way of staying a step ahead of what’s become cliché. That’s something I’ve always tried to do in my work. Maintain consistency on the things I think continue to be relevant and maybe inspire people to empower themselves, but then also evolve so the work doesn’t get stale.

I’ve been very pleasantly surprised to see people come along, like Vhils, who chisels his art out of walls, or Space Invader doing mosaics, or JR shooting photos of people in neighborhoods. To see all these different manifestations of street art that break away from the more predictable street art aesthetics.

But what inspires me is not just the aesthetics, it’s the courage that it takes to go out and do something in public that’s risky. If I see something in an ad, and I know that it was done safely on a set, and I see something with a similar aesthetic but clearly done in a daring way, it might have a completely different impact on me. The visceral reaction of seeing something on the street that was done covertly, I think, is always gonna be more intense than seeing something like that on a gallery or museum wall — or in a movie or an ad for a product.

Shepard Fairey spent several weeks in New York in July 2011 and February 2012, creating and printing the works for his forthcoming exhibition at Pace Prints. In this video, he discusses the ideas behind the works and the printmaking processes that he used. All the works were created at the Pace Paper studio and Watanabe Press in Brooklyn.