Bauhaus (Silver)

Work Summary & Collector Notes

I first heard Bauhaus in 1986 while attending the North Carolina School of the Arts summer program. I was already into US and UK punk, but this was my first exposure to “Goth” or Death Rock” culture. There were a few strange kids who wore all black, heavy eyeliner, and even a guy who wore a skirt. I wanted to dislike the goths, because they seemed to be trying too hard, but I was intrigued by their music. They carried around a boom box playing what I found out was music by Jesus and the Mary Chain, Love and Rockets, and Bauhaus. I especially liked Bauhaus’s “Bela Lugosi’s Dead” and decided to get more of their music. Years later, after moving to Los Angeles, I met Bauhaus’ and Love and Rockets’ bassist David J. We became good friends and talked about music often. I got to hear a lot of great stories about Bauhaus and Love and Rockets, and I was very excited when David told me Bauhaus were reforming to play Coachella and do a tour. I saw the band at both Coachella and the Wiltern in LA. The shows were amazing, and I was overjoyed to see a band I thought I might never see perform. David mentioned to me that the chemistry Bauhaus felt on the tour had inspired them to work on a new album. Well apparently, the chemistry did not hold up, but lasted long enough to deliver Go Away White the first new Bauhaus record since -˜83. Honestly, I was a little nervous because it sucks when a great band tries to do an album after a long hiatus and it tarnishes their almost perfect legacy(think of the new Stooges album). On the contrary, Go Away White is every bit as good as vintage Bauhaus without sounding dated. David asked if I wanted to make some art to help promote the album. Of course I did and I ended up making a poster, sticker, and stencil graphic. People who purchase the Bauhaus poster also get a stencil and sticker. There is also a downloadable version of the stencil. I’m not sure what it will be, but David told me that Bauhaus will be giving a special prize to people who s

Collector notes: Edition of 150; saved release record states an edition size of 150. Edition-specific signature, numbering, and stamp details were not stated in the saved release record. Verify signing and numbering against a documented example of this edition. Gauntlet groups this work under Music and counterculture for discovery; that category is a navigation aid, not an authentication conclusion.

Documented Release Details

Object type

Editioned screenprint

Release date

2008

Release-date note

Catalog-listed release year/date from the saved secondary record; primary release-page confirmation remains pending.

Medium and materials

Screen Print; catalog dimensions 18 x 24 inches.

Edition details

Edition of 150; saved release record states an edition size of 150.

Signature and marks

Edition-specific signature, numbering, and stamp details were not stated in the saved release record. Verify signing and numbering against a documented example of this edition.

Documented History and Meaning

History note: Shepard Fairey's OBEY / Andre the Giant campaign began in 1989 and grew into a long print and public-art practice; this page treats that as career context, not proof that this specific edition belongs to any single exhibition.

Meaning / interpretation: Fairey's practice combines propaganda-style imagery, political and countercultural themes, and a recurring OBEY vocabulary. Subject-specific intent is not assumed here unless the release record states it. This interpretive note follows the cited artist or publisher context.

Release context: The saved catalog lists 2008 and attributes the edition to Obey Giant.

Authentication, Presentation and Provenance

Original presentation

Original packaging or presentation was not documented in the release sources reviewed.

Authentication note

Compare the support, dimensions, edition number, and signature against a documented example of this edition. Gauntlet Gallery does not authenticate works purchased from third parties.

Provenance note

Edition origin is attributed in the saved record to Obey Giant. That does not establish the ownership history of an individual copy: retain the original invoice, reseller or gallery paperwork, labels, correspondence, and condition photographs.

Sources and Verification

Verification status: Secondary catalog snapshot; artist-level context added

1. Saved release record — Art Collectorz · secondary catalog snapshot · Accessed 2026-07-13 · Starting record for title, date, edition, dimensions, medium, release price, and release description. Primary confirmation against the original release page remains pending.
2. About — Shepard Fairey / OBEY GIANT — Obey Giant · primary artist source · Accessed 2026-07-13 · Official OBEY GIANT artist biography and career context; it is not an individual-edition record.
3. Shepard Fairey — Wikipedia · reference encyclopedia · Accessed 2026-07-13 · General artist-level biographical and career reference.
4. Shepard Fairey (Q1142847) — Wikidata · reference knowledge base · Accessed 2026-07-13 · Structured identifier used for the artist across catalog metadata.