Gauntlet Gallery
What is Shepard Fairey’s piece called “Disinformation Damage (Cream)”?
Artist Statement
This Disinformation Damage print is a comment on the corrosive effect of social media on politics. Politicians have always taken liberties with the truth, but credible news outlets would correct lies and hold politicians accountable to the truth before social media. On the other hand, social media allows users to parrot lies politicians tell and perpetuate those lies at lightning speed. The tactic of spreading lies through social media so quickly that credible journalists can't keep up and correct the record has been used consistently by the right. Whatever lies are told will be parroted by a politician's followers, who will also try to drown out any attempt to shed light on the truth. The only antidote to this chaos is for citizens to fact-check what they see and support credible journalism. Understanding the facts behind the issues confronting us is the only way to make wise decisions about policy. A portion of the proceeds from this print will support the work of Brave New Films, who create investigative content around serious social justice issues like voter suppression and racial bias. Thanks for caring! -Shepard Disinformation Damage (Cream) & Disinformation Damage (White). 24 x 12 inches. Screen print on thick cream or white Speckletone paper. Signed by Shepard Fairey. Numbered edition of 275. Comes with a Digital Certificate of Authenticity provided by Verisart. $40.
Summary
Disinformation Damage (Cream) is a 2024 Shepard Fairey screen print, 24 x 12 inches, printed on thick cream Speckletone paper in a numbered edition of 275. The horizontal-format work is a comment on the corrosive effect of social media on political discourse, contrasting the era when credible news outlets corrected lies with one in which falsehoods spread at lightning speed. Fairey frames fact-checking and support for credible journalism as the antidote to this chaos. The print was signed by Fairey and issued with a Digital Certificate of Authenticity from Verisart. A companion White edition was released alongside it.
Why It Matters
Disinformation Damage continues Fairey's long-running engagement with media, truth, and propaganda, but updates it for the social-media age. Rather than critiquing a single politician, the print targets the structural problem of how lies now outpace correction, naming this as a deliberate tactic and urging viewers toward fact-checking and support for credible journalism. That makes it a timely document of the 2024 information environment and a natural companion to Fairey's broader justice-themed output. Its accessibility is notable: at the released price of $40 in an edition of 275, it sits among Fairey's more attainable signed screen prints, widening the pool of collectors who can own a politically pointed, dated statement piece. The collaboration with Brave New Films, which receives a portion of proceeds for investigative work on issues like voter suppression and racial bias, reinforces Fairey's practice of pairing imagery with concrete activist partners. For collectors building a thematic group around media critique, civic responsibility, and contemporary political commentary, this print anchors the conversation in a specific, recognizable cultural anxiety of its moment.
Collector Perspective
This print appeals to collectors drawn to Fairey's political and social-justice work, especially those who track his commentary on media and truth. The horizontal 24 x 12 format is well suited to bookshelf-height or above-desk display and pairs naturally with other text-driven justice pieces. At the released price point and an edition of 275, it is an approachable entry for newer collectors who want a signed, numbered, Verisart-authenticated work without a high outlay. The cream colorway offers a warmer, more neutral option against the companion White edition, making it flexible for varied interiors. It fits collections organized around contemporary activism, propaganda critique, or 2024-dated political statements.
Historical Context
Disinformation Damage sits within Fairey's mid-2020s output, where he repeatedly returns to themes of media manipulation, civic responsibility, and justice. It extends a thread running through his career from the original OBEY propaganda experiments to later work explicitly probing how information is controlled and weaponized. Released in March 2024 ahead of a contentious election year, the print reflects Fairey's continued role as a politically engaged artist who pairs imagery with named activist partners, here Brave New Films. The work belongs to his Modern Activism period, in which cause-linked editions, Verisart certificates, and accessible pricing structures became standard parts of his Obey Giant release model.
FAQ
What is the edition size of Disinformation Damage (Cream)?
It is a numbered edition of 275, signed by Shepard Fairey and published by Obey Giant in 2024. Each print comes with a Digital Certificate of Authenticity provided by Verisart, supporting its provenance for collectors.
What are the dimensions and medium?
The print measures 24 x 12 inches and is a screen print on thick cream Speckletone paper. A companion White edition was released alongside the Cream version, sharing the same horizontal format and subject.
What is the print about?
It comments on the corrosive effect of social media on politics, contrasting an era when credible news corrected lies with one where falsehoods spread instantly. Fairey frames fact-checking and supporting credible journalism as the antidote.
Does this print support a cause?
Yes. Per the source, a portion of proceeds supports Brave New Films, which creates investigative content on social-justice issues such as voter suppression and racial bias.
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.