Graphist

graphist issue 1

SHEPARD FAIREY

critics design process views inspiration aung san suu kyi

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started Graphist, a contemporary graphics and activist magazine, because I believe that all graphics whether it be graphic design, street art or propaganda art should be made with passion and have the ability to inspire. That is why this first issue is dedicated to Shepard Fairey’s work, in particular his Aung San Suu Kyi piece. I will discuss the controversies of Fairey’s design process and what his critics say about him as an appropriation artist. I will also explore Fairey’s Aung San Suu Kyi’s poster, the design process as well as how it has inspired me as a designer. I will show other inspiring examples of propaganda and street art in Belfast, a highly politically tense city. Finally, I will talk about my poster of Malala Yousafzai which was made in response to Fairey’s Aung San Suu Kyi poster. Not only did Fairey’s piece inspire me to make a poster in his graphic style, but his design process has also inspired me to look into different elements of design movements he often uses, which I have subtly incorporated into the design of this magazine such as pre and post war Japanese design, Russian Constructivism, and Chinese propaganda art.

- Eunice Ching

Cover image of Shepard Fairey appropriated from Eric Luse, The Chronicle, 2008.

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co itic TIC nt s o A ro f L ve Sh M rs e A FR ia pa S A l d rd S E es F Au loo ED ig air ng k i O n e Sa nto M pr y’s oc n Sh 2 Su e L es PO s u pa E Ph L Ky rd A a oto IT D i p Fa cit s IC os ire y o of A te y’ f c pr L M r s M on op in sp Ex AL st ag UR ira an an A in pla A tio t p da L sp n LA na ol a S ire ati ’S iti nd O l d on ca s F m o CO l t tr B e fh U en ee E to o sio t a LF cr w RA ea Fa G n rt AS fro T te ire E on y’s m e w of or m kh yo a wn s

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CONTENTS

2 10 16 22

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CRITICAL MASS

Criticisms and accolades from different artists, activists and authors on Fairey’s controversial methods of producing art Shepard Fairey has critics on opposing sides of the spectrum filled with those who love his work and those who believe that the way Fairey produces work is very problematic.

Following his piece on the Obama Hope poster (see next page), Fairey’s legitimacy came under fire to many critics, claiming that he is merely a plagiarist that tries to take art from others and pass them off as his own (Vallen, 2007).

Various examples of his work has been paired with their original source, showing Fairey’s use of other people’s work to create his own. The question we must ask: is this appropriation art of is it plain plagiarism?

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Various critics have questioned and criticized the process in which Fairey creates his work. Although the motives and the results of his work may have achieved great success in terms of political awareness, some say the controversial way in which he creates his artwork illegitimates the potential for art to make a change in the world and hurts efforts to empower our communities with their own revolutionary art history (MacPhee, 2007).

The critics in this article are represented by my favorite piece of their work.

A comparison between the Associated Press Obama photo and the Obama Hope poster (Garcia, 2006, left and Fairey, 2008, right)

FAIREY vs THE ASSOCIATED PRESS The Associated Press sued Fairey for copyright infringement for his use of their 2006 photo of Barack Obama, taken by Mannie Garcia, for the Hope poster (Gearty, 2012). Fairey maintained that the use of the photo falls under fair-use laws (Ibid).

However in 2009, the artist admitted to destroying documents and submitting false images in his legal battle with the Associated Press (Ibid). In 2012, Fairey avoided jail time and walked away with two years’ probation, 300 hours of community service and a $25,000 USD fine (Ng, 2012). Fairey’s history of charity work was cited by the Judge in providing a more lenient sentence (Brookes, 2012).

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What I am concerned with is the brazen, intentional copying of already existing artworks created by others - sometimes duplicating the originals without alteration - and then deceiving people by pawning off the counterfeit works as original creations... Perhaps the most important falsehood concerning Fairey’s behavior is that it is motivated by some grand theory of aesthetics or weighty political philosophy - but I’m afraid the only scheme at work is the one intended to make Fairey wealthy and famous.

Mark Vallen, Art For A Change, 2007

Mark Vallen is an American activist and artist.

This piece is the cover art for the last issue of SLASH magazine (Fields, 2011).

Cover art for SLASH magazine (Vallen, 1980)

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For myself—this is subjective—I find the relationship between Fairey’s work and his sources discomforting... I think unless you’re modifying it and making it your own, you’re on very tenuous ground. It’s a dangerous example for students, if they see that appropriating people’s work is the path to success. Simply reproducing the work of others robs you of your imagination and form-making abilities.

Milton Glasser, Printmag, 2008

Milton Glasser is one of the most celebrated graphic artists of the twentieth century. This is one of his most famous pieces, a poster of Bob Dylan (Edwards, 2010).

Bob Dylan poster (Glaser, 1966)

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Fairey’s controversial design process has made me more cautious of how I appropriate design ideas. I have learned to be more subtle in my work and take even less elements from my design inspirations.

- Eunice Ching

Fairey’s digging up of the visual elements of political history does more to hide that history than illuminate it. Fairey depends on the source of his work being perceived of as “authentic” or “real.” At the same time, he does nothing to let people know the images are taken from actual historical moments and struggles... Unfortunately Fairey’s work simply skims the “cool” parts of these struggles off the top, and buries the rest back into the books he took the images from.

Josh MacPhee, JustSeeds, 2007

Josh MacPhee is an American artist, curator, and activist (JustSeeds, 2007). This piece, Strip Mining for Steroids speaks out against coal mining in the Appalachia region, United States (Ibid).

Strip Mining for Steroids (MacPhee, n.d.)

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[Shepard’s book Supply and Demand] features page after page of Shepard’s descriptions of source imagery and the history behind it. Many of these descriptions clarify that Fairey either chose to appropriate certain images specifically because of their historical relevance and context or selected images that best exemplified a historical period, event, or group that he wanted to illuminate... By taking precisely the elements of an image that speak of its historical meaning and original context and incorporating them into a new image, an artist creates a visual comparison, juxtaposing new and old. Such a contrasting is inherent in the act of referencing, and the intended result is for viewers to consider the relationship of the two images and hopefully spark a dialogue...

Jamie O’Shea, Supertouch, 2009

Jamie O’Shea is the former editor-in-chief of Juxtapox magazine from 1996-2006, turning an amateur magazine to a genre defining contemporary art magazine (McCormick, 2007).

(Juxtapox Magazine, 2004)

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He has indeed copied a number of established graphic works in art and design history... Yet these images are playfully twisted, not maliciously pilfered... For him, the ubiquity of the graphic design and advertising art that he relies on for source material makes it a kind of commercial folk art. Although some of what he borrows is not as anonymously vernacular as one might like, Fairey believes that the fact that it is designed for public consumption makes it free for the taking.

Steven Heller, Dcrit, 2009

Steven Heller, is a noted author on graphic design and former art director at the New York Times. Typography Sketchbooks by Steven Heller and Lita Talarico is a collection of sketches from different artists (Heller, 2011).

Typography Sketchbooks (Heller and Talarico, 2011)

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It seems that Fairey has taken a more cautious approach to his design method after the 2008 Obama Hope poster. Most of his current works are often collaborations between him and different photographers and he often references his current work on his website (Obey, 2013). In my opinion, all of these critics have a valid argument on Fairey’s work.

Although he may be guilty of taking the superficial elements of certain political struggles and making them look ‘cool’ without educating his viewers on the deeper, complex nature of these issues, Fairey does bring these issues to light and inspires his viewers to question his message and find the facts themselves. I believe he could use the critiques to improve his work by explaining in depth the meaning of every piece on his website (something that he seems to be doing more and more), so his viewers do not take his work only at face value.

In terms of appropriation, I believe that although some of Fairey’s work does take elements of other people’s art without changing the actual element, what he adds to the pieces does make it uniquely his own. In this sense I think that Fairey is a fantastic appropriation artist. If he gave his viewers more information such as openly referencing his work, he would not only give himself more credibility but also open up his viewers to art they may never have heard of or seen before.

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An alternate Aung San Suu Kyi poster, stencil and mixed media collage on canvas (Fairey, 2009).

A look in to the design process of Fairey’s Aung San Suu Kyi image, what his critics thoughts, and how it has affected me as a designer. graphist // 11

participating in democracy” and goes on to say “We do live in a consumer culture, and icons can be very powerful in catching peoples attention and creating memes” (Ibid).

Shepard Fairey’s design philosophy is to make art that shares his point of view while asking his viewers to ‘question everything’.

In September 2007, He came across the political problems of Myanmar when its government’s violent reaction to the protests by Buddhist monks made the news (Simmons, 2010).

Fairey responded to this event by making an image of a Burmese monk as a symbol of non-violent resistance (Ibid). However, his scale of involvement with Myanmar grew when he was approached by Jack Healy, a well known human rights activist to create a poster of Aung San Suu Kyi for the U.S. Campaign for Burma and the Human Rights Action Centre (Ibid).

At the time, it was important this piece to be made because the political struggles of Aung San Suu Kyi and the Burmese people were not heavily known in mainstream Western society. Fairey has claimed that the media is shut out of Myanmar and there’s no US foreign policy tie in to force the issue (Simmons, 2010).

Healey commissioned Fairey hoping that the same attention gathered from the Obama hope poster would be drawn to the Aung San Suu Kyi’s struggle (Healey, 2009).

An image of Suu Kyi acquired and licensed from Reuters (Wilton, 2009) and was hand illustrated based on the photo (Simmons, 2010). The illustration was then scanned, with color infused digitally and printed (Ibid).

The final product shows a bright icon with the words “Freedom to Lead” across the top with a dove beaming from her chest (Ibid). A Burmese motif was added on the collar and an assortment of flowers that Suu Kyi often wears in her appearances were added to her hair (Ibid).

This image was disseminated through T-shirts, posters, buttons, stickers as well as available for free in digital format (Ibid). True to Fairey’s artistic roots, the image was also incorporated into wall murals in New York, Cincinnati and other American cities (Ibid).

According to Michael D. English, an artist, conflict analyst and Editor-in-Chief of Unrest Magazine, Cincinnati needed Shepard Fairey’s work on its walls, and was hopeful that if one kid had the interest to look up her struggle, Fairey’s art would have transcended its material plane and done it’s job (English, 2011).

nd a h as c r a uch re e es ry s mo er. r o o r, e t hist ette sign ing m in b de e Ch d Fairey began his design process by researching into a ire nts e able unic Aung San Suu Kyi’s life (Simmons, 2010). The p more he read about her, the more he was ns eme de m dge - E i inspired by her bravery and her selfless as ov ma le h dedication to her people (Ibid). w r te gn m has kno s According to Fairey, “[Making po esi eve y this image to raise e us d eli r i b awareness] is an a io I F r extension of h ard h va hic p he t wit m, w S n is is Th rime ctiv u pe nstr x e o nC a i ss u R 12 // graphist

Since 1962 when a military coup d’etat took place in Myanmar, the Burmese government has been accused of a series of human rights violations (Simmons 2010).

In 1996, they have gone as far as issuing a decree that promised up to 20 years of prison for anyone who opposed government policies (Ibid). In the 1990 election, Aung San Suu Kyi’s political party, the League for Democracy, won 82 percent of the vote, which mean that she would be Prime Minister (Ibid). However, the government responded by ignoring the results and placed her under house arrest, where she remained for more than a decade (Ibid).

In 1992, she won the Nobel Peace Prize for her continued fight for freedom for her people (Ibid). She was finally released from house arrest in 2010 and became the opposition leader of Myanmar, representing the League for Democracy in 2012 (A+E Networks, 2013).

Aung San Suu Kyi (right), General Secretary of Myanmar National League for Democracy, is welcomed at the International Labour Organization (ILO)’s annual conference in Geneva, Switzerland (Martin, 2012).

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Rays coming out of Suu Kyi, common in Fairey’s work, are found in Chinese propaganda art and Japanese war flags (Caruso, 2008).

The dove is a common motif in Burmese freedom political posters (Simmons, 2010).

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Poster of Aung San Suu Kyi, to promote political freedom in Myanmar (Fairey, 2009).

This image of Aung San Suu Kyi was sourced from Reuters and hand illustrated (Simmons, 2010).

An assortment of flowers Suu Kyi usually wears in public appearances (Simmons, 2010).

Decor on collar is a common Burmese motif.

Similar to an Art Nouveau embellishment, this was used to soften up the image (Simmons, 2010).

In my opinion, this piece is fantastic and even more interesting than the Obama Hope poster. The reason the image may not have been as iconic or widely received may be because the subject matter (Suu Kyi) is not as relevant to the mainstream American viewer as Obama was during the 2008 election. However, the colors that are presented are much more vibrant, with yellow and red rays coming out of the dove on her chest. Suu Kyi’s expression is also one that is smiling serenely, encapsulating the very essence of her strength—the willingness to be patient and calm during her fight for freedom. When I look at this poster, I feel a sense of inspiration and beauty, which I believe is a great way to capture a woman like Suu Kyi. The way that Fairey designs his work has inspired me as a designer to follow in some of his footsteps while avoiding his major mistakes. I have learned from my

mistake in a previous design project that research must be done on whatever is designed, and this was confirmed after reading Fairey’s design process. Not only image research but in depth historical research must be done on the subject matter to fully understand what is being designed. I have also learned a great deal of the ethics of appropriation art as well as historical art movements that Fairey utilizes which I would like to experiment in my own work.

Most importantly though, I realize that no matter how great the intentions, the overall aesthetics, or what the outcomes of a piece of work are, there is a very fine line between appropriation and plagiarism. Appropriating work from others without a very clear reference will illegitimate anyone’s work, and this is a lesson I think Fairey has learned for his future projects.

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POLITICAL MURALS OF BELFAST

Mural in Belfast. Arist: Banksy. Photo: Eunice Ching, 2010

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Mural in Belfast. Arist: Unknown. Photo: Eunice Ching, 2010

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When I was in Belfast, I was blown away by the amount of political dialogue on the walls. It is inspiring to see the fighting spirit that encapsulates this city is still practiced by artists like Banksy and Fairey who speak when we are too passive to do so.

- Eunice Ching

Mural in Belfast. Arist: Unknown. Photo: Eunice Ching, 2010

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Mural in Belfast. Arist: Unknown. Photo: Eunice Ching, 2010

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Mural in Belfast. Arist: Unknown. Photo: Eunice Ching, 2010

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20 12 ). z, (H af ee ion at uc ed ale fe m tf or vis cti i, a fza sa Yo u la ala M

Malala’s

Courage

How Shepard Fairey’s poster on Aung inspired me to create a similar poster Yousafzai

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San Suu Kyi of Malala

Shepard Fairey has inspired me to take a wilder visual approach in my future non-profit designs.

- Eunice Ching The Aung San Suu Kyi poster by Shepard Fairey inspired me to create a poster in his artistic style honoring Malala Yousafzai, the brave Pakistani girl who was shot in the head and neck in 2012 by extremist gunmen for being an involved activist, promoting education for girls (Malala Yousafzai’s Blog, 2012). Yousafzai is from Swat valley of Kyber Paktunkhwa in Pakistan (Ibid). In 2009, around the age of 12, the Taliban started banning girls from going to schools in Swat (Ibid).

Yousafzai responded by writing a 15 episode diary of the experience named “Gul Makai” for the BBC website (Ibid). As peace returned to her region, she began to appear on various TV channels and had her articles published by local and international newspapers alike and have been given awards for her activism by the Pakistani government and local NGO (Ibid).

Yousafzai survived the shooting and was rushed to a hospital in Birmingham where she recovered (Brenner, 2013). Her attack and survival has shed light on Pakistan’s abysmal quality of education (Ibid).

A recent U.N. study has stated that 5.1 million children are out of school with two-thirds of them being female (Ibid). This is the second highest number of uneducated children in the world (Ibid).

I wanted to use Malala Yousafzai as my Fairey inspired subject matter

Poster images appropriated from: Asim Hafeez, Time Magazine, 2012 Shepard Fairey, Obey Website, 2010

because like Suu Kyi, Yousafzai is a strong female role model that stands up for what she believes in.

She has transcended age and her difficult environment to influence the whole world and inspire other female human rights activists to stand up for themselves. As a volunteer designer for a feminist organization called Girls’ Globe, I am passionate in fighting for women’s rights, especially those in developing countries.

Prior to designing the poster, I did some research on Yousafzai, and the more I read about her, the more I was inspired. I appropriated an image of Yousafzai from a Time magazine cover, where she was runner-up for person of the year and stripped her image from the background. I then traced and vectorized the image various times to get different depths out of the photograph. Various colors often found in Fairey’s color palette were used, but I concentrated on more neutral tones to keep the image simple and feminine. The two toned rays coming out of Yousafzai was utilized to make the image more Fairey-like. Finally faint yet elaborate decor was added to the background to make the image seem less flat.

I appropriated an image from one of Fairey’s works called the Mandala ornament (Obey, 2013), but took out the Obey symbol. I felt that some element of Fairey’s work should be appropriated for this poster, as it is a form of paying tribute to the artist and his design style.

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BIBLIOGRAPHY A+E Networks 2013, Aung San Suu Kyi biography, A+E Networks, viewed 16 May 2013, <http://www.biography. com/ people/aung-san-suu-kyi-9192617?page=2>.

Bhaskaran, L 2005, Designs of the Times, RotoVision, Mies Switzerland.

Brenner, M 2013, The Target, Vanity Fair, April, accessed 10 June 2013, <http://www.vanityfair.com/politics/2013/04/ malala-yousafzai-pakistan-profile>.

Brookes, K 2012, Shepard Fairey Sentenced To Probation For Destroying Evidence Involved With AP Civil Case, Huffington Post, 14 September, accessed 7 June 2013, <http://www.huffingtonpost.com/2012/09/07/shepard-faireysentenced_n_1864785.html>.

Caruso, HY, Ed. D. 2008, ‘The Art of Shepard Fairey: Questioning Everything’, International Journal of Multicultural Education, vol. 10 No. 2, pp. 1-5, accessed 16 May 2013, <ijme-journal.org/index.php/ijme/article/download/180/220>.

Edwards, O 2010, Sign of the Times: Bob Dylan, Smithsonian Magazine, accessed 12 June 2013, <http://www. smithsonianmag.com/arts-culture/Sign-of-the-Times-Bob-Dylan.html>.

English, M 2011, Art Damage- Reflections on Shepard Fairey’s Murals in Cincinnati, Unrest Magazine, 15 January, acccessed 9 June 2013, <http://www.unrestmag.com/art-damage-reflections-on-shepard-faireys-murals-in-cincinnati/>.

Gearty, R 2012, Obama ‘Hope’ poster artist dodges jail time, socked with community service for faking records, Daily New York News, 7 September, accessed 9 June 2013, <http://www.nydailynews.com/new-york/obama-hope-poster-artistdodges-jail-time-socked-community-service-faking-records-article-1.1154233>.

Glaser, M 2008, Milton Glaser on Shepard Fairey, Print Magazine, accessed 9 June 2013, <http://www.printmag.com/ article/milton_glaser_shepard_fairey/>.

Healy, J 2009, Shepard Fairey and the Call for Human Rights, Huffington Post, 24 June, accessed 10 June 2013, <http:// www.huffingtonpost.com/jack-healey/shepard-fairey-and-the-ca_b_220396.html>.

Heller, S 2009, Shepard Fairey is Not a Crook, Dcrit, accessed 9 June 2013, <http://dcrit.sva.edu/view/readingroom/ shepard-fairey-is-not-a-crook/>.

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MacPhee, J n.d., Josh MacPhee, Justseeds, accessed 9 June 2013, <http://justseeds.org/resourced/prints/josh-macphee. html>.

Minick, S & Ping, J 1990, Chinese Graphic Design in the Twentieth Century, Thames & Hudson Ltd, London.

McCormick, C 2007, Jamie O’Shea, Papermag, accessed 9 June 2012, <http://www.papermag.com/arts_and_ style/2007/03/beautiful-people-2007-jamie-oshea.php>.

Ng, D 2012, Shepard Fairey gets two years’ probation in Obama ‘Hope’ poster case, Los Angeles Times, 7 September, accessed 7 June 2013, <http://articles.latimes.com/2012/sep/07/entertainment/la-et-cm-shepard-fairey-associatedpress-obama-20120905>.

O’Shea, J 2009, Editorial: The Medium is the Message: Shepard Fairey and the Art of Appropriation, Supertouch, accessed 9 June 2013, <http://supertouchart.com/2009/02/02/editorial-the-medium-is-the-message-shepard-fairey-and-the-art-ofappropriation/>.

Simmons, R 2010, Freedom and Memes, Wonkavision, accessed 9 June 2013, <http://www.wonkavisionmagazine.com/ webzine/wz7freedomandmemes.html>.

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Spicer, T 2006, Art for a Change, Pasadena Weekly, accessed 9 June 2013, <http://pasadenaweekly.com/cms/story/ detail/?id=3611&IssueNum=27>.

Vallen, M n.d., Mark Vallen: A Short Biography, Art for a Change, accessed 9 June 2013, <http://www.art-for-a-change.com/ content/bio.htm>.

Vallen, M 2007, Obey Plagiarist Shepard Fairey, Art for a Change, accessed 7 June 2013, <http://www.art-for-a-change. com/Obey/>.

Yousafzai, M 2012, Malala Yousafzai Biography, Malala Yousafzai’s Blog, accessed 9 June 2013, <http://www.malalayousafzai.com/2012/10/malala-yousafzai-biography.html>.

IMAGES Fairey, S 2009, ‘Aung San Suu Kyi Offset’ [image], in Obey 2013, Obey, accessed 19 May 2013, <http://www.obeygiant. com/prints/aung-san-suu-offset>.

Fairey, S 2009, ‘Aung San Suu Kyi’ [image], n.d., Apex Express, accessed 14 June 2013, <http://apexexpress.files. wordpress.com/2012/11/aung-san-suu-kyi.jpg?w=500>.

Fairey, S 2010, ‘Mandala Ornament 2 Cream’ [image], in Print Archive 2013, Obey, accessed 3 June 2013, <http://www. obeygiant.com/prints/mandala-ornament-2-cream>.

Garcia, M 2006, ‘Barack Obama’ [image], in Original Photograph that Inspired Obama “Hope” Poster Discovered 2009, Doobybrain.com, accessed 14 June 2013, <http://www.doobybrain.com/2009/01/22/original-photograph-that-inspiredobama-hope-poster-discovered/>.

Glaser, M 1966, ‘Dylan Poster [image], in Sign of the Times: Bob Dylan 2010, Smithsonian Magazine, accessed 12 June 2013, <http://www.smithsonianmag.com/arts-culture/Sign-of-the-Times-Bob-Dylan.html>.

Hafeez, A 2012, ‘Runner-Up: Malala Yousafzai’ [image], in Time’s Person of the Year Issue: Cover Gallery 2012, Time Magazine, accessed 3 June 2013, <http://poy.time.com/2012/12/19/times-person-of-the-year-issue-cover-gallery/slide/ runner-up-malala-yousafzai/>.

Heller, S & Talarico, R 2011, ‘Typographic Sketchbooks’ [image], in The Intimate Side of Type 2011, Print Magazine, accessed 12 June 2013, <http://www.printmag.com/illustration/the-intimate-side-of-type/>.

Juxtapoz 2004, ‘Juxtapoz Magazine Sept/Oct 04 Issue #52’ [image], in Online Store 2013, Juxtapoz, accessed 12 June 2013, <http://shop.juxtapoz.com/detail.php?id=141>.

Luse, E 2008, ‘Shepard Fairey’ [image], in Shepard Fairey Makes his Mark in Mainstream 2008, San Fransisco Chronicle, accessed 3 June 2013, <http://www.sfgate.com/entertainment/article/Shepard-Fairey-makes-his-mark-inmainstream-3268717.php>.

MacPhee, J n.d., ‘Strip Mining on Steriods’ [image], in Josh MacPhee n.d., Justseeds, accessed 9 June 2013, <http:// justseeds.org/resourced/prints/josh-macphee.html>.

Martin, V 2012, ‘Aung San Suu Kyi Attends ILO Conference in Geneva’ [image], in News & Media Photo n.d., United Nations Photo, accessed 14 June 2013, <http://www.unmultimedia.org/photo/detail.jsp?id=516/516910&key=0&query=Aung%20 San%20Suu%20Kyi&lang=en&sf>.

Vallen M 1980, ‘Come Back to Haunt You’ [image], in Chapter XII Thank you, Gene Sculatti 2011, Robbie Field’s Memoris, accessed 12 June 2013, <http://robbiefieldsmemoirs.blogspot.com.au/2011/05/chapter-xii-thank-you-gene-sculatti.html>.

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Eunice Ching 131FCG4105

Creative Investigation 25 June 2013