As I read this week’s reading, I couldn’t help but think of Shepard Fairey and his “HOPE” piece on Obama as I read Benjamin’s The Work of Art in the Age of Mechanical Reproduction. It was interesting to read about Benjamin’s perception on the origins and value of art and how they “are received and valued on different planes. Two polar types stand out: with one, the accent of cult value, the exhibition value of art work” (1237). As arts is viewed by the masses, the value shifts to a more commodified form, and subsequently away from the “magical” value that was emphasized in more prehistoric times. As this distancing of values widen, and “with emancipation of the various art practices from ritual go increasing opportunities for the exhibition of their products” (1238). The word that hit me here was the use of “products” and how it disenchants the idea of art and artistic expression, and cheapens it to a factory form. Art is no loger seen as a documentation of humanity, or even a material circumstance at best, but is created for conspicuous consumption that is perpetuated by the elite.
The most influential piece of pop art that immediately popped into my head as I read this was Shepard Fairey’s Obama “HOPE” piece (which has been thought of as Andy Warhol meets Social Realism) that was absolutely instrumental in the campaigning techniques for this past election. Shepard Fairey, who started out as a street artist and skateboard designer (famous obey line and Andre the Giant—thought as a guerilla artist), created an iconic art piece that was mass produced, replicated and even parodied. This propaganda piece appeals to those who frequent the Lenisits critisim approach to art: art that is explicitly committed to the political cause of the time. Ironically enough, Shepard’s gear was for the liberal side, whereas Lenin outlawed such liberal views in the 1934 and direct control over literature and art was exerted. (Barry) Even though Shepard Fairey is attempting to move away from his celebrity status and has created breath-taking pieces that reflect his guerilla roots, he will never be viewed again as a cult or even a cultural artist, but rather will be remembered for his propaganda image and a “sell out” by his pre-Obama followers.
As the purpose art continues to drift away from the ritual, the more art is able to be reproduced. “Instead of being based on ritual, it begins to be based on another practice—politics” (1237).
I agree with you're analysis of Fairey's piece, but do pay attention to the similarity to the mass paintings of Stalin, Hitler, or Lenin that were posted in their various ruling countries. Lenin's view toward art in Barry may have been ahead of its time in making all art conform to the political party.
ReplyDeleteDoesn't it suck? Instead of creating for the select few that truly enjoy the art (be it guerilla or classic), all artists must now cater to the masses through politics. It's like the world is on an art IEP.
The Shepard Fairey example is apt as the Obama piece is clearly (and purposely) commodified art designed to promote Fairey's choice for President. The interesting subplot is that although ostensibly created en mass for political purpose, Fairey was adamant that he (or anyone else) should not personally profit from the image. He claimed that all proceeds from sales of the HOPE print would be used to create larger, poster-sized prints for the election campaign. It is interesting that Benjamin sees such mass production as artistically and 'authentically' diminished ("the quality of its presence is always depreciated" (1235) while many in the general public felt a stirring closeness to the image and promoted it themselves.
ReplyDeleteHere is a part II: My brother just sent me the copy for license agreement for VIM, an online editor you can use on any MAC or PC. I think it echos (somewhat) Shepard Fairey's position on using his work [note: to protect sensitive viewers, I've deleted the 'uck' from several words].
ReplyDeleteDO WHAT THE F* YOU WANT TO PUBLIC LICENSE
Version 2, December 2004
Copyright (C) 2004 Sam Hocevar
14 rue de Plaisance, 75014 Paris, France
Everyone is permitted to copy and distribute verbatim or modified
copies of this license document, and changing it is allowed as long
as the name is changed.
DO WHAT THE F* YOU WANT TO PUBLIC LICENSE
TERMS AND CONDITIONS FOR COPYING, DISTRIBUTION AND MODIFICATION
0. You just DO WHAT THE F* YOU WANT TO.
To me, like SF, this seems to be the antithesis of 'selling out'.
long live barack obama, and also long live Shepard Fairey.
ReplyDeletein the 'hope' piece, what do we see first, the painting or the politics?
the genius of an artist might best be described as knowing when to paint what.
without the political and cultural significance of the subject, would this have been a noteworthy art piece?
is there possible to find significance in art without taking into account the political?
it's not an easy thing to do.