“Question Everything,”

then Obey!

This past Spring, I saw a Shepard Fairey exhibit at the local art museum: Shepard Fairey: Facing The Giant: 3 Decades Of Dissent.

Shepard Fairey no doubt has a seminal presence in street art — that is, art in public space — in sticker culture, in wheatpaste postering and in muralism. But, he’s also problematic as fuck — problematic to “fair use”, to social movements — and to art itself. I want to be more precise and say: he has an ejaculative presence in art in public space: his stuff is ubiquitously and frequently splattered — and sticky in the public consciousness — like a true Mad Men, note Ad men and marketers and PR consultants are not artists: they are not even tricksters — they are influencers, marketeers, cons, liars and grifters.

Fairey perhaps most famously helped to elevate Barack Obama’s first presidential campaign with his iconographic HOPE image — Fairey, (perhaps) like tens of millions of us, including myself, bought into Obama’s community organizer/activist history and “hope and change” schtick back in 2008. The shame and pain of decades of systemic, racialized disenfranchisement and inequity were transformed into an incredible electoral energy that was earnestly and hopefully deposited into Obama’s candidacy and presidency; it was then almost immediately disregarded and wasted — and ultimately, profoundly regretted by progressives. Only after his first term was nearly complete did “we” learn and process that Obama was a neo-liberal capitalist centrist cloaked in folksy voice and progressive-populist clothing — we witnessed him betray us again and again — and become a prolific drone-strike-executioner-in-chief as well as Wall Street’s and Rahm Emanuel’s punk-ass bitch.

I want to be more precise and say: he has an ejaculative presence in art in public space: his stuff is ubiquitously and frequently splattered — and sticky in the public consciousness.

The Obama HOPE image stands as a reminder and a joke of hope placed in any Democrat or Republican politician — any. Thank you for that, truly, Shepard Fairey.

But, some among us may still not know — that Fairey had misappropriated the photograph on which the iconic Obama HOPE poster was based, without credit or compensation to the copyright holder — falsely citing “fair use” — Fairey subsequently destroyed evidence about the actual unfairness of his use which amounted to theft, fraud and obstruction. Fairey settled with the copyright owner and also plead guilty for contempt of court.

Fairey has also reproduced and exhibited images of actual, bonafide Black power and liberation icons (Angela Davis notwithstanding) — and has been rightly interrogated about his cultural appropriation. On the surface, his work may pass as homage to great People and powerful movements, but it can also be interpreted as an artistic “black face” — and as an attempt to co-opt that which is not his in order to elevate his own vanilla, half-woke vibe — and of course, to cash-in. He remains defiant in his approach to cultural appropriation.