Gauntlet Gallery
What is Shepard Fairey’s piece called “Melvins Colossus”?
Artist Statement
The Melvins are one of my all-time favorite bands. In 1990, I discovered their albums Ozma and Bullhead and became obsessed. The Melvins channelled Black Flag and Black Sabbath but brought their own unique style that utilized power and negative space, thus creating this amazing tension. I designed this poster for the Melvins documentary "The Colossus of Destiny: A Melvins Tale," which had select screenings last year and more to come in 2017. The film follows the band's history, with rare behind-the-scenes footage from their early days in Washington to their multiple modern incarnations with an eye on the enduring influence they've had throughout their 30-year plus history. The documentary features interviews with Mike Patton, Chris Cornell, Jello Biafra, Gene Simmons, Krist Novoselic, Mark Arm, J. Mascis, Josh Homme, David Yow and many more. I'm thrilled to open this new year with this poster and hope that true fans get their hands on one of these! Happy New Year! "I always thought it was strange that people didn't know more about The Melvins and I felt their story needed to be told. The band members told me that a few people had talked the talk but had never followed up on their threats to make a film about them, so a little over two years ago things really fell into place and now the end product is finished for all to see, " explained Director and Producer Bob Hannam, who worked in tandem with Ryan Sutherby to bring the film to fruition. "It has been a long labor of love for the both of us and we are excited for people to see the film and understand the workings of a truly great band." MELVINS COLOSSUS PRINT AVAIL. 01/05. 18 x 24 inches. Screenprint. Signed by Shepard Fairey. Edition of 300. $65.
Summary
Melvins Colossus is a 2017 Shepard Fairey screen print, 18 x 24 inches, published by Obey Giant in a numbered edition of 300 and signed by the artist. Fairey designed the poster for the Melvins documentary 'The Colossus of Destiny: A Melvins Tale,' which chronicles the band's three-decade-plus history. A longtime fan since discovering the band in 1990, Fairey created the image to support the film and reach the band's devoted following. The work applies his graphic poster sensibility to a music subject, tying his print practice to the documentary's celebration of the influential underground rock group.
Why It Matters
Melvins Colossus is a clear example of Fairey's deep, decades-long involvement with underground and punk-adjacent music, a thread that runs throughout his career. His statement traces his fandom to 1990, when he discovered the albums Ozma and Bullhead, and frames the poster as a labor of genuine enthusiasm rather than a commission. That personal connection gives the print authenticity for collectors who value the intersection of Fairey's art and music culture. As a film poster for 'The Colossus of Destiny: A Melvins Tale,' it also sits within Fairey's long history of producing posters tied to records, tours, and documentaries, making it a documentary-functional object as much as a fine art print. The screen print medium and the contained edition of 300 give it collector appeal without overstated scarcity. For fans of the Melvins specifically, the print is a crossover artifact connecting a celebrated graphic artist to a band whose influence Fairey explicitly credits to figures like Black Flag and Black Sabbath. It appeals strongly to music-focused Fairey collectors and to Melvins fans seeking a signed, artist-designed piece tied to the band's history.
Collector Perspective
This print is a natural fit for collectors who focus on Fairey's music posters and for Melvins fans who want a signed, artist-designed artifact. At 18 x 24 inches it has a strong poster presence and displays well in spaces themed around music or punk culture. The edition of 300 and original $65 release price make it an approachable acquisition for someone assembling a music-series grouping of Fairey's work. Its appeal is sharpened by Fairey's stated personal fandom dating to 1990, which lends collector narrative beyond the image itself. Buyers oriented toward portraits or overtly political prints may find it more niche, but for the music-and-subculture collector it is a meaningful, character-rich piece.
Historical Context
Melvins Colossus opens Fairey's 2017 output and reflects his enduring ties to underground music, a continuity stretching back to his early punk and skate influences. The work belongs to the long line of band and music posters Fairey has produced alongside his political art, here in service of a documentary celebrating the Melvins' 30-plus-year history. His statement situates the band within a lineage he admires, citing Black Flag and Black Sabbath, which mirrors the influences that shaped his own visual aggression and use of negative space. Within his arc, the print reinforces how Fairey's music collaborations remained a consistent counterpoint to his more headline-grabbing political releases of the same era.
FAQ
Why did Shepard Fairey make the Melvins Colossus print?
Fairey designed it as the poster for the Melvins documentary 'The Colossus of Destiny: A Melvins Tale.' He has been a fan since 1990, when he discovered the albums Ozma and Bullhead, and created the print to support the film and reach the band's fans.
What are the print's specifications?
It is an 18 x 24 inch screen print, signed by Shepard Fairey and issued in a numbered edition of 300. Published by Obey Giant, it was made available on January 5, 2017 at an original release price of $65.
What is the documentary about?
Per Fairey's statement, the film follows the Melvins' 30-plus-year history with rare behind-the-scenes footage and interviews with figures including Mike Patton, Chris Cornell, Krist Novoselic and others, exploring the band's enduring influence.
Who would want this print?
It appeals to collectors of Fairey's music posters and to Melvins fans seeking a signed, artist-designed piece. Its poster scale and music subject make it a fit for music-themed collections rather than political or portrait-focused groupings.
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.