The first passage is from the artist in San Francisco who started that Obey Giant campaign. It's what is known as an artist's statement. The second is what's known as a parody. This is when something happens, and someone else thinks they should make fun of it. The third paragraph is more statement from that same guy I was talking about earlier, you know, the one who makes the Obey Giant stickers. Then there are some links in the bottom right corner. You are on the internet.

Obey, No Really
IMPORTANT: I have been hearing reports of people using Obey/Giant stickers recklessly, such as covering other people's stickers and putting several haphazardly adhered stickers on the same box or pole. Please use common sense; don't cover other people's work and don't burn out spots with sloppy overkill. I appreciate people helping out but I don't want to have my work improperly represented. Please pass this message on to any supporters who may be overzealous and inexperienced. You can't expect respect if you don't show it. Thanks for listening.


Obey, So I Don't Have To Kill You
NO, REALLY IMPORTANT: Yesterday, I find my own mother having tea with a total stranger. I couldn't believe it. It was so reckless of her. I mean what is the world coming to? Please use common sense; don't have tea with people you don't know and don't do it so often that it ruins the experience. I appreciate people wanting to have a good time and everything, but you've got to be sensible. Please pass this message on to any tea enthusiasts who may be overly trusting and inexperienced. You can't expect to make it to the goal if you don't start taking precautions now. Thanks for listening. Tea out.


The Artist's Statements
OBEY GIANT posters etc.., visual static interference beckoning an interpretation, serve several purposes. First, the project is designed to make the viewer curious about the images and how they relate to their surroundings, therefore bringing the surroundings into question as well. An important factor in this process is the application of the materials, also known as the "the medium is the message" principle. The fact that the images are placed in public without permission ( I hesitate to legitimize "the powers that be" by defining the work as "illegal"), brings control of the public space into question. That the person responsible for the images was passionate enough about their perpetuation to take the associated risks, compels the viewer to question their role in the environment. The confrontational nature of the work on the street as well as the slogans such as "OBEY" encourage an honest and unpredictable reaction difficult to achieve in the academic or gallery setting where viewers often affect an immunity to devices used to seduce "the bewidered herd". This brings up the issue of the politics of art and the gallery curator. OBEY GIANT completely bypasses this system and avoids the need to cater to artworld trends to find a forum for exposure. OBEY GIANT attempts to simultaneously bring the viewer to question propaganda absorption and to encourage a democratization of the use of public space in a spectator democracy.

Thank you to anyone who has ever put up an OBEY GIANT sticker. Greater thanks to anyone who has ever stood up for a belief about which they felt conviction and abandoned the path of least resistance.

Even greater thanks to Russel Crowe, without whose inspiration, none of this would have been possible.

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