Gauntlet Gallery
What is Shepard Fairey’s piece called “Fan The Flames”?
Artist Statement
Fan the Flames is about the unfortunate truth that unchecked capitalism and a livable planet will soon be incompatible. Capitalism is predicated on expanding consumption and profits without regard to environmental consequences (with the exception of a few conscientious companies). I'm not making an indictment of capitalism in its entirety, only making the point that safety checks need to exist to put the health of the many before the profits of a few. The function of government is to serve the needs of the people who elected it before the needs of corporations, however corporate donations and lobbyists corrupt democracy in the way that they shift government's priorities from the needs of the many to the desires of big corporations. Campaign finance reform would help to keep polluters and fossil fuel corporations from going unchecked. We all need to think about how we vote and how we consume with an eye on a very delicate future ecologically. If you have not read it, I'd strongly recommend Naomi Klein's book "This Changes Everything"… the market does not solve all problems; most need to be solved by humans who understand ethical responsibility. Proceeds from this print will benefit @350org, but I'd also suggest checking out @representus. Thanks for caring! - Shepard? ?????????? OBEY Fan the Flames. Screenprint on cream Speckletone paper. 24 x 36 inches. Signed by Shepard Fairey. Numbered edition of 550. $90
Summary
Fan the Flames is a 2019 Shepard Fairey screen print published by Obey Giant on cream Speckletone paper, measuring 24 x 36 inches in a signed, numbered edition of 550. The print confronts the tension between unchecked capitalism and a livable planet, arguing that environmental safety checks must protect the health of the many over the profits of a few. Fairey frames the work around campaign finance reform and the corrupting influence of corporate money and lobbying on democracy. Rendered in his signature poster-style graphic language, the image ties consumption, voting, and ecological stewardship together as a call for civic responsibility.
Why It Matters
Fan the Flames sits at the intersection of Fairey's environmental advocacy and his long-running critique of corporate power over democracy. Rather than condemning capitalism wholesale, the print makes a pointed argument that markets do not self-correct on ecological harm and that government should serve people before corporations. That nuance, paired with Fairey's reference to Naomi Klein's This Changes Everything and his call for campaign finance reform, makes the work a clear statement piece for collectors who value message-driven art. The source notes proceeds benefit 350.org, aligning the print with organized climate activism and a specific reform agenda. As a 2019 release in a 550-edition at an accessible original price point, it is representative of Fairey's screen-print practice that keeps activist imagery affordable and widely distributed. For collectors, it functions both as a visually cohesive poster and as a document of the climate-and-democracy themes Fairey returned to repeatedly across this period, making it a strong anchor within an environmental or political grouping.
Collector Perspective
This print appeals to collectors who build around theme rather than decoration: climate-conscious buyers, supporters of campaign finance reform, and those who follow Fairey's activist output. At its accessible original price and a moderate edition of 550, it is an approachable entry point for newer collectors while still carrying a signed, numbered pedigree. The 24 x 36 format makes a confident wall statement and pairs naturally with Fairey's other environmental releases for a cohesive grouping. Display appeal comes from the cream Speckletone stock and Fairey's bold graphic composition. It fits well in an environmental or political-message collection, especially alongside companion works addressing oil, consumption, and corporate influence on policy.
Historical Context
Fan the Flames belongs to Fairey's mature activist period, when his environmental and anti-corruption themes increasingly converged. By 2019 he had spent years pairing climate messaging with critiques of money in politics, and this print explicitly links the two by tying ecological survival to campaign finance reform. The source ties proceeds to 350.org and points readers toward RepresentUs, situating the work within the organized advocacy networks Fairey supported in this era. It exemplifies his ongoing strategy of using affordable, signed screen prints to circulate political arguments beyond the gallery. Within his arc, it is part of a cluster of late-2010s releases where the OBEY platform functioned as much as an activist megaphone as an art brand.
FAQ
What is the edition size of Fan the Flames?
Per the source, Fan the Flames is a signed, numbered edition of 550. It was published by Obey Giant in 2019 as a screen print on cream Speckletone paper at an original price of $90, signed by Shepard Fairey.
What is the message behind this print?
Fairey describes the print as addressing the conflict between unchecked capitalism and a livable planet. He argues for environmental safety checks and campaign finance reform so government serves the health of the many over corporate profits, and connects how we vote and consume to the ecological future.
What are the dimensions and medium?
According to the source, Fan the Flames is a screen print on cream Speckletone paper measuring 24 x 36 inches. It is signed by Shepard Fairey and numbered within an edition of 550, published by Obey Giant in 2019.
Does this print support a cause?
The source states that proceeds from this print benefit 350.org, an organization focused on combating climate change. Fairey also points readers toward RepresentUs and recommends Naomi Klein's book This Changes Everything in the print's description.
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.