Gauntlet Gallery
What is Shepard Fairey’s piece called “Motorhead (Red)”?
Artist Statement
MOTORHEAD RED Screen Print 18 x 24 inches Edition of 200
Summary
Motorhead (Red) is a 2002 screen print by Shepard Fairey, published by Obey Giant in an edition of 200 at 18 x 24 inches. It is the red colorway of a two-version release, the other being Silver. The source description is brief, confirming the title, medium, dimensions, and edition size. As a music-themed print referencing the band Motorhead, it sits within Fairey's early-2000s output of musician and band portraits rendered in his bold, high-contrast graphic style, with the red edition offering a distinct color variant for collectors.
Why It Matters
Motorhead (Red) reflects Fairey's sustained engagement with rock and metal iconography during the early 2000s, when he translated the visual language of bands he admired into his propaganda-styled graphic poster idiom. Issuing the work in two colorways, Red and Silver, is a characteristic Fairey strategy that turns a single design into a collectible pair and lets buyers choose a palette or pursue both. The red edition's limited run of 200 places it among the more limited screen prints of the period. The source description is sparse, so interpretation stays close to the documented facts: this is a music-themed Obey Giant print honoring a band with deep counterculture credibility. Its significance lies in how Fairey extends his portrait-and-tribute approach beyond punk into hard rock and metal, broadening the music canon he visually celebrates. For collectors, the appeal is the combination of a recognizable band subject, a striking red colorway, and a modest edition size, all within a coherent group of early-2000s music prints.
Collector Perspective
This print draws music fans, particularly followers of Motorhead and hard rock and metal, as well as Fairey collectors who track his music-themed releases. The bold red colorway gives it strong wall presence and pairs well with other vivid early-2000s prints. Its 18 x 24 inch size is easy to frame and group, and the existence of a Silver counterpart invites buyers to collect the pair or choose a preferred palette. At an edition of 200 it is limited but still attainable for collectors building a music-focused set. It fits naturally into a rock and metal music wall or a broader Fairey music collection.
Historical Context
Dated 2002, this print belongs to Fairey's active early-2000s screen-print period, when his music portraits ran in parallel with the expanding OBEY brand. Releasing the design in Red and Silver versions reflects his recurring use of color variants to create collectible editions. Extending his tribute portraiture from punk into hard rock and metal, the Motorhead print shows the breadth of musical subcultures Fairey drew on in this era. It is part of the run of band and musician works that bridge his street-poster roots and the larger-scale portraiture of his later career.
FAQ
What is the edition size and format?
Motorhead (Red) is a screen print published by Obey Giant in an edition of 200, measuring 18 x 24 inches. It is dated 2002. The record confirms title, medium, dimensions, and edition size but provides only a brief description.
Are there other versions of this print?
Yes. The source lists two editions, Red and Silver. This entry covers the Red colorway. The two color variants let collectors choose a preferred palette or pursue both versions of the same design as a pair.
What is the subject?
The print is titled Motorhead and references the band of that name, placing it within Fairey's music-themed work. The source does not provide extended commentary, so detail beyond the title, medium, dimensions, and edition is not documented here.
Related Works
About the Artist
Shepard Fairey (b. 1970, Charleston, South Carolina) is an American street artist, graphic designer, and activist, and a graduate of the Rhode Island School of Design. His 1989 “André the Giant Has a Posse” sticker grew into the global OBEY GIANT campaign — an ongoing experiment in propaganda, obedience, and visual culture. He reached worldwide recognition with the 2008 “Hope” portrait of Barack Obama, now held by the Smithsonian National Portrait Gallery. Across screen prints, stencils, murals, and collage, Fairey channels propaganda aesthetics toward themes of peace, justice, environmentalism, and civil rights. His work is in the collections of the Museum of Modern Art, the Victoria & Albert Museum, and LACMA.