By GREG COOK  |  February 10, 2009

Still, you can see Fairey mulling the differences between the street and the gallery. It's one of the most fascinating aspects of his work. He characteristically rips and layers his images to make it look as if several different posters had been pasted one atop the other and ravaged by the elements. His street work often appears slicker than his gallery stuff, which is even more layered and stained, to give it a faux patina of age. He's tapping into the alluring romantic rot of old bridges, tattered walls, and jury-rigged structures, the gritty, used, rusty stuff that city folks know and love as the soul of urban America.

Read Greg Cook's blog at

< prev  1  |  2  |  3  | 
Related: Interview: Shepard Fairey, Radical chic, Shepard Fairey bombs Boston, More more >
  Topics: Museum And Gallery , Barack Obama, Barack Obama, Obey,  More more >
| More

Most Popular
Share this entry with Delicious
  •   LIFE IS A CARNIVAL  |  August 27, 2014
    To run away with the circus — it’s a glamorous metaphor for “leaving a dull life for a colorful one.”
  •   A WORLD GONE WRONG  |  August 20, 2014
    The skies always seem threatening in Jennifer Hrabota Lesser’s paintings.
  •   OUTWARD AND INWARD  |  August 06, 2014
    A couple years or so back, Samuel Denoncour spent a year traveling alone across these United States.
  •   BEAUTY AND RUIN  |  July 30, 2014
    You’ve surely seen Providence painter Agustín Patiño’s work.
  •   EVOLVING PERSPECTIVES  |  July 23, 2014
    Somewhere around the 1950s, Florence Leif drastically changed her style.

 See all articles by: GREG COOK