About the artwork
Shepard Fairey (Obey) - Niagara - 2019 - comes signed, numbered and with a Certificate of Authenticity from Niagara, Shepard Fairey, and 1xRUN. 3-Color Screen Print on 320gsm Natural Coventry Rag Vellum . 18 x 24 Inches
"For 'Tomorrow’s Another Night' I chose an image of Ron and Niagara where I think they both look amazing, but there was a nice balance between in-your-face aggression with Ron’s pose making eye contact holding his fist up, and Niagara’s seemingly demure embrace of Ron, but anyone who knows Niagara understands that though she may look sedate, she’s pulling the strings. I added a switchblade that she is caressing with her finger, as a way to amplify her femme fatale chic, and because I thought it lent itself to my original idea of a title ‘Bonnie & Clyde Were Lightweights.’" - Shepard Fairey
"Shepard’s images of us are done so well. It’s not easy to get to the essence and Shepard has honed his powers to perfection. I’ve also always loved doing collages and inking. For Shepard’s image background, I only used Destroy All Monsters or Dark Carnival’s real press & vintage flyers. I just grabbed a couple handfuls & combed through, cut out, glued down and passed out." - Niagara
While attending the University of Michigan in 1974, Niagara and Mike Kelley formed Destroy All Monsters. The band, known to fans as DAM, was active until 1985, earning international recognition due largely to the presence of former members of The Stooges and the MC5. Later, she fronted the supergroup Dark Carnival (with Stooges guitarist Ron Asheton and his brother Scott Asheton, Stooges drummer).
Niagara utilized art school experience in creating album and promotional art for Destroy All Monsters, Dark Carnival, and other acts. Combining collage and pop iconography, Niagara's style began to take shape, and by the early 1990's she presented her work in galleries and cafes around Detroit.
With critical recognition for her painting established, Niagara teamed up with the Detroit gallery CPop in 1996. Her first exhibits "All Men Are Cremated Equal" (1996) and "Faster Niagara, Kill...Kill" (1997) were breakout shows that fostered national recognition. Juxtapoz (art journal) heralded her as "The Queen Of Detroit." Successful exhibits in other cities followed, including Los Angeles, New York, San Francisco, Sydney, Tokyo and others.
"The Niagara Girl" - in many guises - represented feminist swagger with drop-
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