Obey, ☮ & Revolution Post
The depth of today was taken from an article I wrote last June, published on the webzine
Art, Culture Part of why I work in April 2009. I think it is appropriate to speak of an artist who has recognized the dangers of so-called "intellectual fascism", the thought of plagiarism and induction of induced needs that make us slaves to a big brother and fully approved.
Et voila:
Frank Shepard Fairey, best known as Obey, is an American contemporary artist.
His artistic production in series began in 1989 on the walls of Rhode Island, then become a true global phenomenon. Today, after fourteen arrests, several processes at breakneck speed and flight, Shepard Fairey is one of the most popular street artist and designer of the United States, whose works are exhibited in prestigious museum collections, such as the New Museum of Design in New York, San Diego Museum of Contemporary Art, the Museum of Modern Art in San Diego and the Victoria & Albert Museum in London.
Born in 1970, Fairey, started drawing the first punk skateboard stencils and stickers in high school, until re-evaluating the concept of adhesive, intended as means of personal expression, rather than how to represent a band, a company or a movement.
His artistic experience begins with the production of its first sticker, dedicated to Andre the Giant, wrestler originally from France, at that time peak of his career: his face is quickly transformed into a stylized portrait is Andre The Giant Has a Posse, accompanied by a disturbing written in capital letters "OBEY."
In the manifesto drawn up in 1990, explains Fairey OBEY sticker campaign as an experiment in Heidegger's phenomenology, which is to allow things to occur in pure ontology being, enabling people to see clearly what is before their eyes. The adhesive has no meaning in itself, but exists only to cause people to react and look for a meaning in the cartoon, the various reactions and interpretations of the observers reflect their personality and sensitivity. Obey Giant campaign inspires even art critics: the New York Carlo McCormick, connects to the overwhelming power of advertising:
"We live in a world overloaded with advertising. There is no way to avoid them when you walk down the street. [Obey Giant] tells you to buy and obey, but do not know what to buy or who to obey. Works al livello elementare di catturare l’attenzione delle persone e fargli chiedere cosa sia un segno. Una volta che inizi a chiederti cosa sia quel segno, allora forse puoi iniziare a mettere in discussione tutti i segni”.
Palese ed inquieta fonte d’ispirazione di Obey è il film cult They Live di John Carpenter, in cui il protagonista, tramite degli occhiali speciali, riesce a decodificare i cartelloni pubblicitari che contengono messaggi subliminali.
“Ho creato il progetto Obey per costringere le persone a confrontarsi con themselves. My impression is that many do not understand that in life as individuals act obedient and disciplined. Perhaps my posters may make them reflect on their situation. And many could not tolerate this. "
inevitable glimpse of a political and social meaning in the words and actions of Obey. Political commitment that has become evident in 2008 when Fairey created the series of posters in support of the candidacy of Barack Obama, including the iconic portrait HOPE and PROGRESS, considered by art critic Peter Schjeldahl, "the most effective political posters in the U.S. since Uncle Sam Wants You '. "
Despite the identification by the system of official art, with exhibitions in museums and galleries, and the execution of merchandising business, the intent of Obey remains to be food for thought social, triggering the collective consciousness. Is proof of his recent participation in the project
www.artistsforpeaceandjustice.com the proceeds from the sale of the works are to support the earthquake reconstruction work in Haiti.
