Hope is Gone

I will preface this post by admitting honestly that some of this man's work was well done and interesting. He has a nice technique with most things and above all, he knows how to keep his name on the hit list. That being said, Shepard Fairey is a raging poser. He's a hack who uses the fickle liberal mob mentality to feather his nest and fuel his larger-than-life ego. His latest offering shows us that not only is he a shameless opportunist (something his audience should shun) but he's run out of ideas.

The Occupy Wall Street movement is no stranger to slogans and provocative imagery. Their crass posters, oftentimes confusing and nonsensical, are inescapable. They've adopted the Guy Fawkes mask from "V for Vendetta" as their stand against 'oppression' and trot it out as often as possible. Shepard Fairy saw an opening and he took it with this boring and predictable recycle of his insipid Obama 'Hope' poster.

This 'humble' street artist (as he continues to be called though he's no longer either) had done a different poster for OWS, something a little less forward, less recognizable. I suppose that's why the new one came about; the first one didn't get enough attention. In this article, he's called a 'west coast legend' and let's face it, a man with a head that big wasn't about to let the cash-cow and hero worship of OWS pass him by.

As I said before, he's not completely devoid of talent, but as a graphic artist myself, I know what goes into the things he does. I know what kind of work is involved and I know how easy it is to recycle. When the first poster (something predictable but not awful) didn't get the buzz he wanted, he opened an old file he had floating around on his expensive computer and did some editing. He kept the colors and the technique, just changed out a few things and added some words. He even kept the Obama 'O' in much the same fashion, just added some hackneyed 99% mumbo-jumbo. This Guy Fawkes incarnation of his easily and oft-imitated red and blue poster wasn't much work for him at all and yet the adoring art community and OWS roll out their tongues for him like a red carpet.

It's easy to think the road to artistic success lies on the open range of propaganda. Propaganda is a frightening mistress. The communists and socialists use art as a cog in the machine of oppression so it's not surprise Mr. Fairey seems eager to let himself be exploited. This piece from Big Hollywood in 2009 about former NEA Director of Communications Yosi Sergant sheds a light on just how far this administration and its champions are willing to go to get what they want. When you can't sway the people with facts and mere words, use an eye-catching image and slogan.

It's no sin to express your beliefs in any form at your disposal. It's fine to share those beliefs with others. But there's a fine line between expression and exploitation. Mr. Fairey isn't a victim and I would guess his desire for fame and fortune slightly outweighs his need to 'speak for the common man'. This latest move shows desperation. He, like many adamant Obama supporters, have seen their star brighten and fizzle. This revisit of his Hope poster is a return to a time of prosperity for him, a time when he was a hero. Fairey is a well-known 'art vigilante' and I suppose he always will be in some circles, but the 15 minutes of fame may be over and not a moment too soon.

Artful Dodging

I have a close friend who is a career classical musician and teacher. She is, as many would expect, a professed liberal. She learned quickly upon meeting me as a student that I was conservative. In spite of this difference, we manage to have a great relationship. I credit some amazing folks I've met online with that fact. They taught me the correct way to handle political conversations; keeping it civil, staying calm and logical, and ending conversations when personal attacks begin. I'm thankful for their guidance, but that is a topic for another time.

My friend and I were discussing, as we do a lot lately, the state of arts in our city. The orchestra is yet again struggling with bankruptcy and the harsh possibility of job cuts. They seem to do this periodically. With donations down and interest in classical performances at a low, it's almost certain the orchestra will be changing, perhaps for the worse.

I sympathize with my friend and her sister, who is a full-time musician with the orchestra. I feel sorry for those who love what they do, have a passion for music, who now await what is likely a termination of their position. I've been there, I know how that feels. But our conversation soon turned to the happenings with NPR. We didn't go deeply into the subject, which was likely a good thing, but she mentioned a stereotype that I quickly had to refute; the belief that conservatives don't care about the arts.

It is a vast liberal stronghold, the thought they hold a monopoly on compassion, acceptance, and mercy. This monopoly consumed the arts in the 60's, when free expression and abstract thought became the norm. Art wasn't truly art unless it was difficult to understand and grotesquely provocative. Liberals fed on that resistance to 'the man' like a leech on the lifeblood of the creative. They manipulated artists and musicians into believing conservatives wished them squashed in the fiscal wheels of progress by donning condescending smiles and offering bribery in the form of government funds. The National Endowment for the Arts started in 1965, a way for Big Brother to subsidize what it saw fit for the insipid public to appreciate as art. A firm grasp on the reigns of expression would ensure the proper message came through. Politically backed art is one thing and one thing only: propaganda.

NPR and PBS are like the NEA. Their acceptance of public funds, no matter the percentage, make them susceptible to all kinds of whispered influence from D.C.. There are always strings attached, no matter what you're told. My friend seemed to believe the call for ceasing funds to NPR and PBS was an attack on the arts themselves and liberals want people to believe such rubbish. I had to set her straight by explaining this 'devil on their shoulder' concept. I also suggested she look deeply into the contributions made by private citizens and companies when it comes to the arts. I believe she would be surprised to find just how many conservatives there are on those lists.

I don't think conservatives hate the arts. Conservatives believe in things self-sustaining, work done the proper way. What better testament to freedom and ingenuity than an artist or arts organization succeeding on their own two feet? The truth may be that the arts have grown to hate conservatives. The lies have gone from backroom gossip to art-scene gospel. Conservatives love and support the arts as much as any self-righteous liberal. Stereotypes have trumped reality and it's time we started setting things straight. When opportunities arise, and they will, we must speak our minds, tell the truth, and be artists of grace. Only then will a more beautiful picture develop.