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The Political Portraiture of and Fairey: Pop Art for the People

Meghan Kate corso

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In a period of drastic social change, new social theory, and a constant state of questioning American politics it was only necessary to use fine art as a catalyst to progress social change. Historically, those testing artistic boundaries instigated periods of revolution. The testing of social change was then extended by waves of social movements that allowed them to become more central to life. All of society can be influenced by the implications of the fine art. A sub culture can be the result that leads to testing new political powers, making fine art the catalyst responsible for social change.

The culminating of the modernist aesthetic was due to the glorification of American politics and the hunger for new order. Both attributes of American social change are evident in the works of in his rendering of President Nixon in 1972 and in the unofficial portrait of then Senator Barack Obama by street artist and creative genius,

Shepard Fairey. The depictions of these works evolved the aspirations of the American culture, but it was the use of mechanical reproduction that influenced social change in a modernist contemporary culture.

The works that Warhol and Fairey created left an impact on American culture allowing for the remembrance of political history. With the use of a simplistic style, their artwork was easy to understand. After both works were created they were rendered countless times, making the original political piece available to the masses. Andy

Warhol took his fascination with certain mass production methods and applied them to 3

“art, even calling his succession of studios, . He developed innovative techniques. Projecting photographic images onto a silk screen, he traced the outline, added colour and used displaced multiple copies to blur the effect. His breakthroughs made art more accessible to artists, audiences and their interaction.”1 Warhol created a space for himself, which was the iconic studio known as the “factory”. The “factory” was his kingdom and breading ground for creative thought, silk screening, experimental drug use, sex, film production and the ability to mass-produce his screen prints. By the time Warhol had become famous, he was working day and night on his paintings.

“Our fine arts were developed, their types and uses were established, in

times very different from the present, by men whose power of action upon things

was insignificant in comparison with ours. But the amazing growth of our

techniques, the adaptability and precision they attained, the ideas and habits they

are creating, make it a certainty that profound changes are impending in the

ancient craft of beautiful. In all the arts there is a physical component, which can

no longer be considered or treated as it used to be, which cannot remain

unaffected by our modern knowledge and power. For the last twenty years neither

matter not space not time has been what it was from time immemorial. We must

expect great innovations to transfer the entire technique of the arts, there by

affecting artistic invention itself and perhaps even bringing about n’ amazing

change in our very notion of art.” --Paul Valéry, Piéces sur L’ Art 2

Paul Valéry, a French poet and philosopher described the future of fine art as being in the realistic, reasserting sthat the work of Andy Warhol was what political art needed in

1 Paul Laster, “ Pop life at Modern Tate,” Modern Tate Magazine, 2006. 2 Paul Valéry, The Young Fate, 1917, p 85. 4 order to thrive. Paul Valéry realized that it was amazing and profound because art has the ability to advance in society through technological development by instilling habits of progression in American culture. This progression pertaining to that artistic craft was established for the creation of beauty that was spread throughout American culture. The innovations of Warhol and Fairey lead to an awareness of the simplicity of American politics as their artistry was reproduced to become available for the masses.

Andy Warhol’s artwork has become some of the most significant in American art history. Born in Pittsburg in 1928 to immigrants of the Slovak Republic, Warhol grew up in a working-class family that was very involved in the Catholic community. He majored in pictorial design in 1949.3 He moved with high ambitions to New York City and started out as a window dresser. He later commanded high paying jobs from publications such as

Glamour, Vogue and the New York Times.4 Starting with his earliest drawings from the

1940’s and 1950’s, Warhol covered a decade starting in 1962 where he single handily revolutionized art. 5 Throughout these decades Warhol defined modern-day America, consciously and unconsciously exposing the ambiguities of U.S. society.6 He depicted everyday objects that no one dared to question or see in different perspectives. The images have appeared in magazines throughout the world on televisions, clothes, billboards, and household objects. From the classic soup can to Nixon’s portrait,

Warhol’s art consists of not only pieces of work that Americans can identify with but also work that breeds American familiarity with a hint of contempt.

3 Aruther C. Danto, “Andy Warhol,” 2009, pg 2. 4 Arthuer C. Danto, “ Andy Warhol,” 2009, pg 4. 5 Paul Laster, “ Pop Life at Modern Tate,” Modern Tate Magazine, 2006 pg 5. 6 Paul Laster, “ Pop Life at Modern Tate,” Modern Tate Magazine, 2006 pg 5. 5

To create his art, Warhol used silkscreens so that he could mass-produce images the way capitalist corporations mass produce consumer goods. In order to continue working the way he did, he assembled a menagerie of adult film performers, drag queens, socialites, drug addicts, musicians, and free thinkers who became known as the Warhol

Superstars. 7They were his assembly line to help with the demand for the pieces. "Art- workers" helped him create his paintings, starred in his films, and basically developed the atmosphere for which the factory became legendary. The, “art-world in this respect prepared for Andy Warhol.”8 Warhol had a fascination with mass production and applied aspects of this technological process to his artistic methods by implementing it into his studio, also known as the “Factory”. His process of mass production was that which required Warhol to photograph a subject onto silk, trace the outline and then add colour. If it was a process where there would be multiple series on the photo, he would use displaced multiple copies to blur the effect. This breakthrough of the mass production of art made it more accessible to audiences, the artists and their interactions.9 A subculture was created that was willing to support Warhol for all of his actions and believed in the way he mocked and portrayed American commercialism. The mass production of Andy Warhol’s prints was not strictly mocking American culture when he portrayed the vast commercialism that was embedded in American society. This was the first time that people had access to more than one print.

The words, “I’m not a crook” are the most infamous words that people associate with President Nixon. On November 17, 1974 he addressed the world about the

7 Aruther C. Danto, “Andy Warhol,” 2009, pg 10. 8 Aruther C. Danto, “Andy Warhol,” 2009, pg 8. 9 Aruther C. Danto, “Andy Warhol,” 2009, pg 20.

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Watergate scandal. Nixon was the 36th president and was the first one to ever resign while in position. When political posters are created for political campaigns they are simply rendered in red, white, and blue. This can be considered as a design rut, where creative thought and visual experience are already thought to be there.10 The colors are representing America in its simple, melancholy tones of patriotism. The posters are usually mass-produced by advertising companies who follow the trite designs of prior political campaigns and strive to create a novel idea for the politician. If the posters were lucky, they would not offend a single voter and would not push for intellectual questioning beyond the mere image of the politician. In opposition Nixon is depicted in a color scheme of yellow and sea foam green for the face and is adorned accordingly in a pink suit with a red tie:

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The portrait depicts President Nixon as a rendition of the wind-up toy of Godzilla who spits sparks and eyes flash yellow when you crank the silver key. 12 In 1972 the

10 Andy Warhol, “The Philosophy of Andy Warhol.” 1975, Pg 47 11 Andy Warhol “ Nixon, VOTE McGOVERN.” , P.A, 1972. 12 Julie Ann Weekes, “ Warhol’s Pop Politics,” Smithsonian.com, 2008 7 impressionistic image was based on an official portrait of under which

Warhol roughly scrawled “Vote McGovern.”13 It was at the height of irony in a campaign that later became known for its dirty tricks. Warhol placed “McGovern” underneath as a relic of a moment in American history associated with chicanery and paranoia, which was a bold assertion that truth lies on the surface. There was nothing true in that image which made it a tool to counteract the Republicans. When Warhol made this screen-print to be sold to aid the Democrats' Presidential bid, he chose to do a portrait not of Nixon as

McGovern but of his opponent. Warhol's poster image of Nixon is not a caricature; it is a portrait, derived from a photograph, not distorting Nixon's features, but showing expression through color.14 Nixon's face is acidic green, colliding shockingly with an orange background, almost like classical Indian art in its chromatic intensity. The colors are not the standard red, white, blue that scream “American”. Warhol rids these melancholy colors, and while the portrait’s colors are much more farfetched, the portrait is aesthetically pleasing. The portrait does not only show a President who resigned but also a man. This man will never again be involved in political functions. “There is a double character that is manifested a every point; they change and contradict themselves.”15 It is socially progressive to show both sides of an individual who had such an impact on America. The double character of Nixon as a President and a crook is evident when looking at the portrait because of its depiction. When political parties and art combined, there was a development of political reaction, promoting a fetish for seeking the truth and new order. When Warhol’s portrait was produced, it preserved that

13 Julie Ann Weekes, “ Warhol’s Pop Politics,” Smithsonian.com, 2008. 14 Julie Ann Weekes, “ Warhol’s Pop Politics,” Smithsonian.com, 2008, Pg 3. 15 Andy Warhol, “ The Philosophy of Andy Warhol.” 1975, Pg 56. 8 moment in time; a moment of American political anarchy that transformed society’s perceptions of government. This portrait symbolized a form of progress that would instill trust back in the Presidency. It captures the way Nixon, in the flesh, looked like a cartoon, with his head too big for his body. This was created for satirical effect.16 Nixon disturbed the American public’s political impressions and made them question what was in front of them. He rattled society by allowing room for questioning.

Unlike the trite political posters that are normally mass-produced, Warhol used political satire as the tool to go against Nixon. It’s considered to be more so a political cartoon than a political portrait.17 This is the opposite of the classic political cartoon in which the artist riffs on someone's features until they become ludicrous exaggerations.

18Warhol left Nixon in his original state, making it easier to question and provoke political substance. Warhol does not feel the need to distort his subject - he merely showed him as what he was, the President who resigned. Warhol’s simplistic image of an unsettling yellow eyed Nixon seems to say if don’t want this again, please vote for the democrat choice, McGovern.19 Warhol’s Nixon was enlivened by the blurring boundaries between political stomping grounds and star-studded circles, where reinvention is an art and “politicians and actors can change their personalities like chameleons.” 20

When Warhol established the concept of mass production for art, he was feeding into Walter Benjamin’s view of Marx’s Superstructure concept that the “Proletariat after

16 Andy Warhol, “ The Philosophy of Andy Warhol,” Pg 114. 17 Julia Ann Weekes, “”The Smithsonian Magazine,” 2008 , Pg 2. 18 Andy Warhol, “ The Philosophy of Andy Warhol,” 1975, Pg 84. 19 Arthur C. Danto, “ Andy Warhol.” 2009, Pg 177. 20 Julia Ann Weekes, “”The Smithsonian Magazine,” 2008, Pg 2. 9 its assumption of power or about the developmental tendencies of art under present conditions of production.”21 The proletariat class of Warhol’s time was a posse of artists and enthusiasts that believed in his work and knew that he was doing more than mocking

American culture. In an essence, he was mocking American culture by producing icons of popular culture such as Marilyn Monroe, Elvis, Political leaders and a can of

Campbell’s soup. Warhol and his subjects were quintessentially American. He depicted uncritical reflections of the American culture, such as Coca-Cola and Campbell’s soup, and put this subject matters on the map. He created a celebration of Western Capitalist democracy.

Society became aware of the greatness that was behind each iconic piece. Works of art can always be reproducible and imitated by human nature. Enormous changes occurred with printing and the mechanical reproduction of writing. This reproduction carried over to lithography allowing this process to essentially reach a new stage of accessible art.22 Lithography was the first step towards instantly illustrating everyday life.

It began to keep pace with printing and set the bar for the process of pictorial reproduction, also known as photography.23 Around 1900, technical reproduction reached the ability to reproduce all transmitted works of art and which caused a profound impact on the public. It also had the ability to capture a place or period of time between the artist and his or her reproduction processes. 24 These manifestations of the reproduction of artwork greatly influenced the way that Warhol created his prints and the way that American society viewed art. With the help of mechanical reproduction the

21 Walter Benjamin, “ The Work of Art of Mechanical Reproduction,” 1936, Pg 2. 22 Walter Benjamin, “ The Work of Art of Mechanical Reproduction,” 1936, Pg 6 23 Walter Benjamin, “ The Work of Art of Mechanical Reproduction,” 1936, Pg 8. 24 Walter Benjamin, “ The Work of Art of Mechanical Reproduction,” 1936, Pg 9. 10 bourgeoisie no longer dominated art, and the presence of intense nationalistic art was no longer restricted to bourgeoisie distribution.25 It was no longer strictly accessible to the upper class to view in galleries or only to a few who would have the chance to see work in a museum. It was the means to the mass production of American pop art. It was attainable by the masses.

The reproduction of a piece of art is conducive to the vast appeal of the American public and can relay a powerful message. However, the one down side is that even the most perfectly replicated rendering can be better than the original. In this case it will still lack one of the most crucial elements; the piece’s presence in time and space and the existence at the place where it happens to be and where it was made.26 In relation to

Andy Warhol’s mass production of prints the time and the essence of space are created in their new location, but nothing could compare to the first time that the pieces were established in the factory. The presence of the original is a prerequisite to the concept of authenticity and in Shepard Fairey’s case the reproduction was what got him into another lawsuit, while putting Barack Obama on the map. His reproductions allowed generation x to identify with a piece of art that welcomed political change.

With mass production, the uniqueness of a work of art is inseparable from its embedment in the fabric of tradition. The tradition of a piece of fine art is to maintain the history of a hidden meaning that is only available for those who have had the education to know how to approach a painting. Before social emergence and before people were conscious of how influential a piece of art can be on society, “Art certainly stood in opposition to social domination and it’s mores, but not with an awareness of its own

25 Theodor W. Adorno, “ Aesthetic Theory.” Minnesota Press, 1997, Pg 225. 26 Walter Benjamin, “ The Work of Art of Mechanical Reproduction,” 1936, Pg 15 11 independence.” 27 The Nixon portrait that Warhol created was one of the first political portraits that did not need any explanation. The piece instigated social questioning of art and allowed for Americans to understand the impact a piece of art can have on social change. The genius of mass art production that Warhol instituted in American pop culture glorified America, especially New York, as it became the center for the art world.28 American art was admired and imitated everywhere. What made Andy Warhol the quintessential American artist was that he, “Painted American currency in small denominations, he painted what Americans eat, and people felt that he was one of them, even when he talked about business art being the best at art.”29 When American images were seen around the world, they were seen as exciting, because there was an implication that these images could have ascended through Warhol in the space of fine art.30 Warhol made elements and objects of everyday life compelling – it was hard for Americans not to pay attention.31 That demographic of individuals who have the knowledge of the artist, the modes behind the production, and the skills to render something into a piece of art is not large within American society. The subculture of fine art pertains to both Warhol and

Shepard Fairey. Their images have been spread across the nation and have been mass replicated.

Shepard Fairey is from Charleston, North Carolina and an alumnus of the Rode

Island School of Design, where he earned his degree in fine arts. He is a contemporary visual artist who put street-art on the map. He has been the catalyst and one of the biggest

27 Walter Benjamin, “ The Work of Art of Mechanical Reproduction,” 1997, Pg 225. 28 Arthur C. Danto, “ Andy Warhol,” 2009, Pg 86. 29 Arthur C. Danto, “ Andy Warhol,” 2009, Pg 98. 30 Arthur C. Danto, “ Andy Warhol,” 2009, Pg 98. 31 Arthur C. Danto, “ Andy Warhol,” 2009, Pg 27. 12 activists for social change. He first emerged on the scene when his company, OBEY, created the “André the giant has a posse” sticker campaign, rendering a face from the supermarket tabloid, Weekly World News.32 Andre’s ominous black-and-white face

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started mysteriously appearing on walls, poles, and utility boxes along the eastern seaboard, eventually showing up in cities across the country and the globe. “The ubiquitous images, were based on a photo of pro wrestler Andre the Giant,”35 declares

Shepard Fairey, who is the creator of iconic street art and a pop-art impresario. It was a face depicted in black and white very simply rendered with only the outlines. It was simple, shocking and in-your-face. The sticker campaign was the first time everyone could be involved in an artistic movement. It created open thought and promoted the youth to open their minds to creative, rational thought. The online art world has excelled allowing everyone to have the ability to post their piece of Obama Art, thanks to Andy

Warhol, “There is an Obama Art Report online on which artists can post work that they

32 OBEY PROPAGANDA, “ Bio of Shepard Fairey,” 2004, www.obeygiant.com. 33 Mug shot of original, Andre the Giant, 1982. 34 Shepard Fairey, “Andre the Giant has a Posse sticker.” 1989, 35 Liam O’ Donoughe, “ Interview: Shepard Fairey,” Mother Jones Magazine, 2008. 13 are creating to raise money for his campaign. And there is the Shepard Fairey poster [of

Obama] that has gotten so much attention [and] in some ways links right back to Warhol

36 and some of the work he was doing.” The sticker campaign was spreading throughout the youth of America and was taking up space within American society. The sticker campaign made this political art accessible to everyone and was the first step towards leading a social, creative, movement that was welcoming to all thoughts.

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Shepared Fairey created OBEY with the slogan of “OBEY PROPGANDA; creating dissent since 1989.” The OBEY sticker campaign can be considered an experiment in Phenomenology. Heidegger describes phenomenology as “the process of letting things manifest themselves.” Phenomenology enables people to see something clearly that may be obscured right before their eyes; things that are taken for granted and

36 Julia Ann Weekes, “”The Smithsonian Magazine,” 2008 , Pg 2. 37 Shepard Fairey, “Example of OBEY Sticker Campaign.” 2004, www.obeygiant.com. 38 Shepard Fairey, “ Example of OBEY sticker Campaign, 2006, www.oberygiant.com. 14 muted by abstract observation.39 The first objective of phenomenology is to reawaken a sense of wonder about one’s environment. The OBEY sticker attempts to stimulate curiosity and bring people to question both the sticker and their relationship with their surroundings.40 Because people are not used to seeing advertisements or propaganda for which the product or motive is not obvious, frequent and novel encounters with the sticker provoke thought and possible frustration, revitalizing the viewer’s perception and attention to detail. The sticker has no meaning. It exists to cause reaction, and to force people to contemplate and search for meaning within the image. Because OBEY has no actual meaning, the various reactions and interpretations of those who view it, reflect their personality and the nature of their sensibilities.41 The approach of phenomenology in the case of the Barack Obama print was that people reacted to the unknown appearance and then would have to question and develop their own rational thought. Many people who are familiar with the sticker find the image itself amusing, recognizing it as nonsensical, and are able to derive straightforward visual pleasure without burdening themselves with an explanation. However, the sticker’s persistent presence may confuse the paranoid or conservative viewer and they may condemn it as an underground cult with subversive intentions. 42

The subculture was established when Fairey released the HOPE poster to the masses. The portrait was well received as it allowed everyone to identify with it in some manner. Certain Americans gravitated to this image, and this group formed the subculture

39 Martin Heidegger, “Being and Time,” 1998, Harper Collins, pg 167. 40 Shepard Fairey, “OBEY MANFIESTO,” 1995, www.obeygiant.com Pg 1. 41 Shepard Fairey, “OBEY MANFIESTO,” 1995, www.obeygiant.com Pg 2. 42 Shepard Fairey, “OBEY MANFIESTO,” 1995, www.obeygiant.com Pg 1. 15 that lead social change. The poster itself did not lead to social change. The openness for opportunity and the chance for new order were what motivated the subculture to develop.

They came together because of the image and the meaning of the word, hope, which had endless possibility tied to it. Anyone could have been inspired by the engaging tones of patriotic colours, “His Obama posters (and lots of his commercial and fine art work) are re-workings of the techniques of revolutionary propagandists -- the bright colors, bold lettering, geometric simplicity, heroic poses," that is evident in American culture states

William Booth of the Washington Post. 43

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Since Fairey began designing the Sticker Campaign, many stickers have been peeled down by people who were annoyed by them, considering them an eye sore and an act of petty vandalism, which is ironic considering the number of commercial graphic images everyone in American society is assaulted with daily. Vandalism ensued when the

Barack Obama image was placed on walls, buildings’ windows, and stickers on ,

43 William Booth, “Obama’s On-the-Wall Endorsement,” Washington Post, 2008, pg 2. 44 Shepard Fairey; portrait of Senator Barack Obama.“ HOPE,” 2007.

16 because people saw a man that could lead social change. Fairey believed in the man within the image and his creation was so passionate that people knew this movement was only a small stepping-stone. It was a key role in American cultural history that lead to social change. It was open for more rational thinking and when America was in a state of crisis the Obama administration stepped in, and people could identify with the masses. “I wanted to provide a human connection in association to Barack Obama; an instant connection that was either good or bad.”45 Like the sticker campaign he wanted to provoke rational thought and stir people to establish their own ideas and principles.

A pure, productive force was the motive for Shepard Fairey with the sticker campaign, and this mentality was also evident in the viral leak of the Barack Obama portrait. In American society, there are subcultures that attach themselves to an artist and politician, and “Art keeps itself through its social force of resistance; unless it reifies itself, it becomes a commodity.” 46 The portrait of Obama, and even Andy Warhol’s depiction of Nixon, have become commodities because they are defining a part of

American political culture. They are desired because these images depict what needs to change in society and are visually stimulating at the same time. Works of art and their contribution to society, “[are] not communication with it but rather something extremely mediated: It is resistance in which by virtue of inner-aesthetic development, social development is reproduced.”47 The image is a non-communicative way of approaching a piece of art. When the pieces are exposed to the public they are brewing an inner appreciation of aestheticism that is first, visually provoked. The inner development that

45 William Booth, “Obama’s On-the-Wall Endorsement,” Washington Post, 2008, pg 1. 46 Theodor W. Adorno, “ Aesthetic Theory.” Minnesota Press, 1997, Pg 226.

47 Theodor W. Adorno, “ Aesthetic Theory.” Minnesota Press, 1997, Pg 225. 17 is created sparks discussion. The piece is not meant to be social; it is meant to provoke society to create a social aspect of political thought and questioning.

With President Bush’s term coming to an end Americans were searching for national unity and reassurance that their country could slowly come back to the stable state it once was. In reference to two events in history, the gulf war, like the war on Iraq, united the country in an outgoing patriotic fervor.48 As the war progressed and there was no end in sight, a hunger for Americans to still believe in diversity and multiculturalism ensued. At the same time there was a tremendous challenge to maintain hegemony of the

“traditional” curriculum.49 Addressing the Bush administration and the War on Terror was always a challenge for teachers and students because they had to remain politically correct. Not only were they in an academic environment where people struggled to remain supportive, but also there were many Americans who refused to doubt political power. Between the years 2001-2009 Americans developed a new, “desire to deny a new nationality based on multiculturalism, the other desire was to equate national unity.” 50

Americans need an image to identify with. When Warhol depicted Nixon, Americans realized that their President was a crook and the furthest thing from a loyal Politician in this country. When George Bush’s term was coming to an end, Americans were desperate for a new face to represent America. They needed a new image with which to welcome a fresh start and new opinion on what it means to be “American.” It just happened to be that the face of Barack Obama depicted and rendered by artist, Shepard

Fairey, captivated America. “ The search for a national identity has been ongoing since

48 Sally Webster, “ Critical Issues in Public Art,” Harper Collins, 1992. Pg 167. 49 Sally Webster, “ Critical Issues in Public Art,” Harper Collins, 1992. Pg 134. 50 Sally Webster, “ Critical Issues in Public Art,” Harper Collins, 1992. Pg 234. 18 the birth of the republic,”51 and when Fairey’s the image of Barack Obama surfaced, it quickly became the national identity that this country was craving. Voices from the far left and far right are comparable in that they reflect a common ambition to define what it means to be American. In many ways America is an intangible thing; an idea or even an image that can be created to help Americans approach their country and create national identity.

Shepard Fairey did not create the man behind his piece of fine art; he created the piece with intentions to establish a face for one of the presidential candidates in whom he believed. He created one of the most influential political pieces of art in American history. Shepard created his OBEY manifesto to inspire creative thinking. The elaborate way of thinking was left to the individual who would be exposed to American culture daily. The propaganda that Fairey used to get his message across was American made.

He wanted people to know that it was okay to question and debate what was formerly considered acceptable. Fairey enabled Americans to create public artwork that was open for interpretation, and had the ability to be distributed within society “Allowing a built-in focus that seems to be an ideal genre for a democracy.”52 The interpretation of the pieces of art can be celebrated by the masses or can create outbreaks of controversy. This is what artists such as Shepard Fairy and Andy Warhol want to provoke in the society. The outbreaks are what the artist want to happen. They want questioning to take place and they wish to see the politicians in a light that can make them more truthful to the masses and in a sense, make them more accessible by letting people know that they are human.

In both Warhol and Fairey’s cases their art can be seen as elitist, and is often discussed in

51 Sally Webster, “ Critical Issues in Public Art,” Harper Collins, 1992. Pg 18. 52 Sally Webster, “ Critical Issues in Public Art,” Harper Collins, 1992. Pg xi. 19 terms of monetary value when museums showcase their pieces. However, both artists have a connection to American pop culture because they strip monetary value from their work and mass-produce their creations to make them accessible for every social class.

Fairey began screen-printing posters of Barack Obama soon after completing the design and showing it to Yosi Sergant. Yosi Sergent is an American publicist who commissioned and managed the HOPE poster created by Fairey. After the campaign came to a close, Yosi Sergent was appointed to the Director of Communications for the

National Endowment for the Arts. Initially, Fairey sold 350 posters and put 350 more up in public.53 Beginning with that sale and continuing throughout the campaign, Fairey used proceeds from selling the image to produce more images. After the first printing, he made 4,000 more that were distributed at Obama rallies before Super Tuesday.54 He also put a printable digital version on his website, obeythegiant.com. In an October 2008 interview, the image quickly went viral. It spread spontaneously through social media networks and by word of mouth once the image was leaked through the Internet. Fairey’s progressive distribution move was the turning point that made this image identifiable around the world.

The image itself is a very Presidential-like photo of Barack Obama. He is looking to the left side with a profile that can capture an individual’s attention immediately, “I wanted strong. I wanted wise, but not intimidating,"55 Fairey says of the look for his

Obama’s portrait. Caught in mid thought and in the tones of red, white, and blue it was a

53 Alissa Walker, “Yosi Sergent is Back Among the Artist,” 2010, Pg 2. 54 Alissa Walker, “Yosi Sergent is Back Among the Artist,” 2010, Pg 1. 55 William Booth, “Obama’s On-the-Wall Endorsement,” Washington Post, 2008, pg 2. 20 simplistic portrait that was welcoming and captivated Americans. After the initial 700 posters, the Obama campaign decided through Yosi Sergant that they wanted to promote the theme of HOPE, and most of the posters sold by Fairey subsequently had the word

"hope" and later "change" instead of "progress"; the OBEY star was also absent from later versions. By October 2008, Fairey and Sergant claimed to have printed 300,000 posters (with less than 2,000 sold and the rest given away or displayed) and 1,000,000 stickers, as well as clothing and other items with the image sold through Fairey's website, in addition to copies printed by others.56 According to Fairey and Sergant, proceeds from sales of the image were used to produce more posters and other merchandise in support of the Obama campaign, rather than direct profit for Fairey.

Shepard Fairey, who created earlier political street art critical of government and of George W. Bush, discussed the nascent Obama campaign with publicist Yosi Segant late October 2007. Sergant suggested Fairey create some art in support of Obama.

Sergant contacted the Obama campaign to seek its permission for Fairey to design an

Obama poster, which was granted a few weeks before Super Tuesday. Fairey found a photograph of Obama using Google Image Search, which was eventually revealed to be a photograph taken by freelancer Mannie Garcia, who worked for the Associated Press.

56 William Booth, “Obama’s On-the-Wall Endorsement,” Washington Post, 2008, pg 2. 21

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The original image had the word "progress" and featured Fairey's signature

OBEY star—a symbol associated with his Andre the Giant Has a Posse street art campaign—embedded in the Obama campaign's sunrise logo. The poster was inspired by

Social Realism and, while widely praised as original and unique, can be seen as part of a long tradition of contemporary artists drawing inspiration from political candidates and producing "posters that break the mold not only in terms of color and style but also in message and tone."58 Fairey however did receive a tremendous amount of credit for getting the youth to become involved with social change and American politics.

In an article written by Rob Baker and Kierra Johnson they discuss how the youth of America will vote based on what they to see and hear. Politicians are doing everything that they can to hold onto the youth movement. Political campaigns are meeting with youth around the country trying to boost, “their online engagement to meet

57 Mannie Garcia photographer; image Shepard Fairey used to base of his Portrait. 58 Steven Heller, “ Fairey Sues,” New York Times, 2009, pg 2. 22 us where we are, the power of the youth vote is chronically shrugged off by those who see young people as apathetic digital consumers, looking for cheap laughs but ultimately disinterested in the political process.”59 The youth of America are interested, but it has to be broadcasted to them through networks such as MTV, BET, Facebook, Twitter, and

YouTube. In order for politicians to engage with the youth, they need to be where they are, “Online engagement is a crucial place to start for politicians that want the youth vote.

Social media is a language that savvy politicians can employ to show young people that our lives and our styles are respected in the legislative arena.” 60 Shepard Fairey was aware that youth are heavily involved in social media, and he knew that when he got out his image of Obama, it would spread throughout the masses. He met the youth on their level and greeted them in the way that they could embrace these new ideas. By using creative thought to pertain to the masses, they felt that they were becoming part of the movement. They were the youth movement that led to such a drastic implication of hope for the country.

In the publication of 24 France which is a French online news paper, they address the impact that the youth movement had for president Obama, “Indeed, the “youth vote” helped sweep Obama into office: nearly 24 million voters aged 18 to 29 went to the polls

– the highest number since the early 70s – and two-thirds of them cast their ballots for the current president. 61 Buoyed by anti-Bush sentiment, economic anxiety, and a charismatic candidate, young Americans stuck with Obama through a long campaign, then turned up

59 John Frosch, “ Will Obama’s youth movement return for crucial movement,” France International, 2010, pg 2. 60 John Frosch, “ Will Obama’s youth movement return for crucial movement,” France International, 2010, pg 2. 61 John Frosch, “ Will Obama’s youth movement return for crucial movement,” France International, 2010, pg 2. 23 in droves to hand him a landslide win and a mandate for ambitious left-leaning reforms.”

62 In 2008, with help from Shepard Fairey, the campaign was not only seen as the pivotal movement for the election’s success, but it also glorified the election process to seem cool and hip for the younger generations. Shepard Fairey realized this and did not care that it was seen as trendy; he had accomplished what he set out to do. With the sticker campaign and the impact of the Obama poster, he wanted Americans to identify with the image and create their own opinions. There was no correct way of thinking in terms of getting involved with what could be the future of American politics. Statistics from youth voter advocacy group, Rock the Vote, show 58 per cent of voters, ages 18 to 29 followed this election. Fifty-nine per cent of young people say they are cynical about politics.63

The percent of voters that followed the election are more aware of what is taking place within political campaigning than ever before. The fifty nine percent who said that they were cynical about politics is the demographic to which Shepard Fairey catered. He wanted to reach people who were uneducated by creating such a powerful image that they had no choice but to become aware of this campaign’s implications within society.

The affect of the iconic HOPE poster did what it was intended to do until enthusiasm for Obama and his agenda dropped; a 56 per cent favorability rating for the

President among voters under the age of 30, down from 73 per cent approval from the

62 John Frosch, “ Will Obama’s youth movement return for crucial movement,” France International, 2010, pg 2.

63 John Frosch, “ Will Obama’s youth movement return for crucial movement,” France International, 2010, pg 2. 24 same age group at the start of his term in January 2009.64 His poster was certainly a unique example of how art can serve as a rallying point, channeling energy into action.

But for this very reason, we should be clear what, exactly, Shepard Fairey is rallying us to support. To this day, he insists that his oeuvre expresses no ideology; that its cardinal message is simply "question everything." Aside from being a lowest-common- denominator philosophy, this is doing a disservice to the urgency of his work’s better messages -- his environmentalism, his anti-war views, etc. Presumably, Fairey actually wants to move people with these works. At the same time, the dictum’s vague character reflects Fairey’s own political vagueness.65 Fairey does not want people to be moved by these works; he wants people to move the works. He does not want individuals to peruse creative rational thought that leads to their own political impressions. The images are usually quite simple, but he takes the melancholy patriotic colours of red, white, and blue and creates a window for prospective hope. The creation of this universal art piece thrived in a particular subculture and society, and “ Great autonomous art originated in agreement with the emancipation of spirit; it could no more be convinced with out an element of universality than could the later.”66 Fairy created this piece in hope that

America would take recognition of what could change. The element of American spirit that was derived and kindled from this portrait helped bring Americans together and created an element of universality. The Hope print was a piece of artwork that was not so bound up on a degree or atheistic. The simplicity behind the poster made it atheistically pleasing and it accomplished what Adorno argues: “art work breaks away in a glare from

64 Jennifer Gross, “ A look at Art for Obama with Shepard Fairey,” 2009, pg 3. 65 Steven Heller, “ Fairey Sues,” New York Times, 2009, pg 3. 66 Theodor W. Adorno, “ Aesthetic Theory.” Minnesota Press, 1997, Pg 200. 25 the empirical world and becomes the counter figure of what lives there; art today is scarcely conceivable except as a form of reaction that anticipates the apocalypse.” 67 The appearances of President Obama and President Nixon in both of their portraits does not establish the value of physical appearance as being attractive or unattractive. They are both simply rendered. Both pieces, especially the portrait of Obama, make them the political figure that lives in people’s homes, on buttons, bumper stickers, and on their t- shirts. Obama became tangible as a political figure and as a man to whom individuals could relate. He is the charming politician with whom people identified and in whom they believed. He was conceivable to the masses, and the reaction surrounding his campaign was due to much of the anticipation that America could be living under new direction. An apocalypse did not take place but the movement for change to happen did.

Most importantly it brought people together, not only in coalition for Obama, but to unite people who wanted to exercise their freedom of speech.

Shepard Fairy created one of the most influential pieces of political fine art. This piece can be recognized throughout the world, and in some cases it is the image that people now associate with America. They do not understand how and why the portrait was created, but they are connected to it on an aesthetic level. The image is aesthetically pleasing, meaning that people do not have to dwell for deeper meaning or try to understand why Shepard rendered it in America’s colors. In most cases that is why people associate with it; they simply like it. The image that Shepard Fairey used to create the print is based off of an Associated Press photograph taken in April of 2006 by Mannie

Garcia who was on assignment for the Associated Press at the National Press Club in

67 Theodor W. Adorno, “ Aesthetic Theory.” Minnesota Press, 1997, Pg 88. 26

Washington. Mannie Garcia was seeking credit for the photograph and compensation for being used by Shepard.68 When Shepard was asked to create the poster, he simply searched Google images and chose Garcia’s photograph for his portrait. To create his

Obama poster (which he did in less than a week), Fairey grabbed a news photograph of the candidate off of the Internet that he thought looked Presidential.69 “He is gazing off into the future, saying ‘I can guide you.’”70 The simplicity of Obama’s pose is what conveys the strong powerful message that he can guide America.

The Associated Press did not approve of Fairey’s appropriation of the photo. In an interview conducted by Huffington Post, Shepard was aware of what he did and stated,

“My philosophy is usually if I want to make things happen I’ll just act first and apologize later.”71 Fairey further states “I looked for an image that I thought was a good image, illustrated it in one day and had the posters in production the next day.”72 Spoken as a true street artist who has been arrested countless times and has several warrants still in existence. He is a creator and will deal with negative consequences when they happen.

Fairey claimed that the Associated Press was using the wrong photo to prove that he was wrong in breaking infringement laws. In an interview with Terry Gross from NPR, she asks, “Now, some people are contesting whether that’s the actual photo that you used. I don’t know if you’re following this or not, but there’s a blog by James Danziger, who is the person who put out the alert. He says that when you overlay the photo with George

68 Jennifer Gross, “ A look at Art for Obama with Shepard Fairey,” 2009, pg 3. 69 Ben Davis, “ Fairey Tales,” Art Net.com, 2009, pg 1 70 Terry Gross, “ Shepard Fairey, Inspiration or Infringement,” National Public Radio, 2009, pg 1. 71 Ben Davis, “ Fairey Tales,” Art Net.com, 2009, pg 1. 72 Terry Gross, “ Shepard Fairey, Inspiration or Infringement,” National Public Radio, 2009, pg 1 27

Clooney of Obama with your poster, they’re a little out of sync, whereas when you overlay that single shot of Obama with your poster, they’re perfectly in sync.”73 Gross was trying to establish that Fairey used the image and was aware of what individuals may think. He justifies why it was appropriate that he rendered the photograph,

“Well, that’s where the part of being an artist comes in, doesn’t it?

It’s that liberties had to be taken with the photo to get what I wanted. The

one thing that I had to adjust was whether Obama was going to be looking

more to the right or more directly towards the viewer, so I had to adjust his

eyes a little bit. That’s the main thing that I recall adjusting. And I rotated

his head really slightly. It’s a hand-illustrated image that I also did some

digital tweaks to before I started illustrating it. And so, yeah, that would

probably explain that.” 74

Fairey admits that he did render the image and from an artist’s perception, he believes that artists are allowed to use each other’s work to help embrace their own creative thought. Nothing will ever be like the original, but people become aware of greatness and want to adapt it into their lives. They create their own rendering with their own personal touch, but at the same time show respect towards the artist.

The Associated Press states that Shepard Fairy acted in bad faith by deliberately misrepresenting the source of the infringing work in his compliant. Shepard claimed that

73 Terry Gross, “ Shepard Fairey, Inspiration or Infringement,” National Public Radio, 2009, pg 1. 74 Terry Gross, “ Shepard Fairey, Inspiration or Infringement,” National Public Radio, 2009, pg 1. 28 he used the photo of Barack Obama and George Clooney at a Darfur panel.75 Bad faith is not relevant when creating a piece of artwork, especially a piece that culturally made

America more aware of a change at hand. Fairey admitted that he did use the image and altered it, and in October of 2009 Fairey’s attorneys stated that, “no longer contend that the Clooney Photograph was used in the creation of the Obama Hope poster” and, in fact, admitted that Fairey used the Obama photo AP claimed was used.76 They also informed

AP that Fairey created new documents claiming use of the Clooney photo after he had filed his original complaint. Fairey also attempted to delete documents about which photo he had used. In addition, they told AP that statements made to AP about the existence of some of Fairey’s files addressing the Obama illustration “now appear to have been inaccurate.”77 Oct. 20, 2009 AP filed an amended counterclaim, claiming it uncovered new evidence showing substantial profit from commercial exploitation of the image on T-shirts and other merchandise. AP also contends Fairey did not make a

“mistake,” about which photo he used in the poster; it “strains credulity” that he could not remember cropping Clooney out of the photo, AP states.78 In addition, AP numerates on how Fairey licensed AP images for legal use, such as the cover image of President

Obama. Followed by the October 20, 2009 counterclaim the original photo including

75 The Associated Press, “ Timeline of Key Events and Comments by Shepard Fairey,” 2008, pg, 1. 76 The Associated Press, “ Timeline of Key Events and Comments by Shepard Fairey,” 2008, pg, 2. 77 The Associated Press, “ Timeline of Key Events and Comments by Shepard Fairey,” 2008, pg, 2 78 The Associated Press, “ Statement on Shepard Fairey Law Suit,” 2009, pg 1. 29

George Clooney is posted on the OBEY PROPGANDA website, along with the cropped version Shepard used and the one he created.79

In the midst’s of the law suit that was filed against Fairey, he stated in October that the Associated Press was not willing to give him rights for the photograph, “The

Associated Press has determined that the photograph used in the poster is an AP photo and that its use required permission. AP safeguards its assets and looks at these events on a case-by-case basis. We have reached out to Mr. Fairey's attorney and are in discussions.

We hope for an amicable solution.”80 In 2009 Fairey did admit that he used the image and he knowingly submitted to using false images by cropping the photograph and changing

Obama’s eyes.

79 The Associated Press, “ Timeline of Key Events and Comments by Shepard Fairey,” 2008, pg, 1. 80 The Associated Press, “ Timeline of Key Events and Comments by Shepard Fairey,” 2008, pg, 1. 30

81

Since then Sheppard made a public apology to his family, friends, and fellow artists, “I take full responsibility for my actions which were mine alone. I am taking every step to correct the information and I regret that I did not come forward sooner.” 82

Because he is the artist that he is, he was respectful to his surroundings and took full responsibility for the image that he used. He ultimately wanted to create a universal image and like most humans he made a mistake. He added: "I am very sorry to have hurt and disappointed colleagues, friends, and family who have supported me in this difficult case and trying time in my life."83 However, with the effect that the image has had on

81 The cropped photo of at the time Senator Barack Obama. This is the photo that Shepard rendered his eyes and it is taken by the original Mannie Garcia. It is next to Sheppard’s creation.

82 The Associated Press, “ Judge, HOPE, Artist Under Criminal Investigation.” 2010, pg 1.

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American society, Shepard Fairey does not need to be disappointed in himself or feel that he has disappointed others. He helped hundreds of thousands of people develop their own political views. He even got recognition and a personal thank you from President

Obama, which could be considered a valuable part of American history. Shepard Fairey gave Americans the ability to believe in themselves as a country and the possibility that change can happen.

An incredible amount of change has occurred within the art world from the presence of Andy Warhol to the robust impact of Shepard Fairey. Both of these artists have not only transformed the way political art has been created, but they have had a huge influence on American culture’s perceptions of implementing drastic change. Their pieces are simple depictions of the essence of American culture. They provoke rational thought and aesthetic attributes. Most importantly, they both have reassured Americans of their power in a democratic society. Hope cannot be seen, but it is something that will marinate amongst the masses through the provocation of thought and questioning. The profound changes that were developed with the idea of mass production and the creativity that flourished because of those thoughts are what provoked American social change.

The technological advancements that were created have influenced social change, but it is artists who have captured the social progression that they wish to see within American society. Warhol and Fairey are artists who believe in America and want everyone to believe that social progression can happen. We can expect that these two artists have greatly influenced new artists and political campaign art. New artists will thrive by trying to reinvent what has come before them in Warhol and Fairey. Heidegger describes

83 The Associated Press, “ Timeline of Key Events and Comments by Shepard Fairey,” 2008, pg, 1. 32 phenomenology as “the process of letting things manifest themselves,” and this is what

American society is. It is the process of letting views, social changes, art and political movements manifest through visual representations that have been championed by Andy

Warhol and Shepard Fairey. Now more than ever art influences politics and politics influence art.