Shepard Fairey Caves In, Revises Occupy Wall Street Poster

Shep­ard Fairey’s famous 2008 Oba­ma “Hope” poster has been the source of count­less imi­ta­tions and par­o­dies. Last week Fairey released his own par­o­dy for Occu­py Wall Street, replac­ing Oba­ma’s head with a hood­ed fig­ure in a Guy Fawkes mask, along with the words, “Mis­ter Pres­i­dent, We HOPE You’re On Our Side.” As Fairey explained on his web­site, “I see Oba­ma as a poten­tial ally of the Occu­py move­ment if the ener­gy of the move­ment is per­ceived as con­struc­tive, not destruc­tive.”

Not every­one agreed. Yes­ter­day, after a series of dis­cus­sions with one of the orga­niz­ers of the pur­port­ed­ly lead­er­less move­ment, Fairey announced he was back­ing down and drop­ping the provoca­tive mes­sage to the pres­i­dent and replac­ing it with “We Are The HOPE.” A few of the move­men­t’s orga­niz­ers report­ed­ly thought Fairey’s poster implied that Occu­py Wall Street either sup­port­ed Oba­ma or was beg­ging for his sup­port.

“As Oba­ma has raised more mon­ey from Wall Street than any oth­er can­di­date in his­to­ry, it would make us naive hyp­ocrites to sup­port him under present cir­cum­stances,” the anony­mous orga­niz­er wrote to Fairey. “As for the design, the fact that you put the 99% inside the Oba­ma O is cross­ing a sacred line. While it def­i­nite­ly looks cool, whether intend­ed or not, this sends a clear mes­sage that Oba­ma is co-opt­ing OWS.”

“I have no inter­est in pan­der­ing to Oba­ma,” respond­ed Fairey. “I see my image as a reminder to him that he has alien­at­ed his pop­ulist pro­gres­sive sup­port­ers.”

But Fairey sub­mit­ted to the pres­sure and changed his design any­way. You can read more about the exchange here, and see the altered ver­sion of Fairey’s poster below.

For more Occu­py Wall Street posters, stay tuned for our post com­ing lat­er today.…

The Battle for LA’s Murals

Los Ange­les has long been known as the street mur­al cap­i­tal of the world. But in the past few years the city has paint­ed over more than 300 murals, accord­ing to the Los Ange­les Times, enforc­ing a decade-old ordi­nance that makes it a crime to cre­ate murals on most pri­vate prop­er­ties. “The mur­al cap­i­tal of the world is no more,” street artist Saber told the Times. “They buff beau­ti­ful pieces, harass prop­er­ty own­ers and threat­en us like we are in street gangs.”

Some of the prob­lems start­ed in 1986, when the city was look­ing for a way to alle­vi­ate the grow­ing scourge of bill­board blight. The city was being blan­ket­ed with unsight­ly com­mer­cial adver­tis­ing, so the Los Ange­les City Coun­cil adopt­ed a code to reduce com­mer­cial bill­boards. The new restric­tions exempt­ed art­work. Adver­tis­ers respond­ed by suing the city, argu­ing that they had the same right of free speech as the mural­ists. So in 2002 the Coun­cil “solved” the mat­ter by amend­ing the code to include works of art. “The law left many murals tech­ni­cal­ly ille­gal,” wrote the Times in an Oct. 29 edi­to­r­i­al, “no mat­ter how tal­ent­ed the artist or how will­ing the own­er of the wall or how inof­fen­sive the sub­ject mat­ter.”

Since then, murals that were already in exis­tence have come under increas­ing threat from two sides: from graf­fi­ti “artists” who mark their ter­ri­to­ry by defac­ing murals, and from a city that seems deter­mined to find any pre­text to paint over them. This is the sub­ject of Behind the Wall: The Bat­tle for LA’s Murals (above), a six-minute doc­u­men­tary by stu­dents in the Film and TV Pro­duc­tion MFA pro­gram at the Uni­ver­si­ty of South­ern Cal­i­for­nia. It was direct­ed by Oliv­er Riley-Smith, shot by Qian­bai­hui Yang, and pro­duced and edit­ed by Gavin Gar­ri­son.

With­out address­ing the issue head-on, the film makes some progress toward illu­mi­nat­ing the dis­tinc­tion between street art and van­dal­ism. Mural­ists like Ernesto De La Loza, who is fea­tured in the film, receive per­mis­sion from prop­er­ty own­ers and then spend months cre­at­ing their art. Lat­er, some­one comes along with a can of spray paint and tags it. Should the mural­ist and the graf­fi­ti artist have equal cul­tur­al sta­tus?

Relat­ed Con­tent:

The Always Bank­able Banksy

Lt. John Pike Pepper Sprays His Way Into Art History

Pep­per spray stu­dents in the face on Fri­day, and you wake up the face of evil on Sat­ur­day. Then, the brunt of some clever jokes on Mon­day. Look! There’s Lieu­tenant John Pike pop­ping into the famous paint­ing, The Spir­it of ’76, and mac­ing a wound­ed sol­dier while he’s down. That’s low.

Now the sym­bol of French free­dom, Delacroix’s Lib­er­ty Lead­ing the Peo­ple. Is Pike using pep­per spray? Or, on clos­er inspec­tion, is that a shot of deodor­ant? Quel con ce mec.

Free­dom from Want is part of Nor­man Rock­well’s Four Free­doms series of paint­ings. And guess who is ruin­ing free­dom, Thanks­giv­ing and every­thing whole­some?

Yes, he even­tu­al­ly des­e­crates Picas­so’s anti-war mur­al, Guer­ni­ca, too.

A baby seal? WTF Pike?!!

More art his­to­ry fun awaits you at the Pep­per­Spray­ing­Cop Tum­blr site.

H/T Heather and Wash­Po

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Pepper Spraying Peaceful Protestors Continues; This Time at UC Davis

It’s becom­ing a trend. Around the coun­try, police­men are pep­per spray­ing peace­ful pro­tes­tors. It start­ed in NYC when Tony Bologna, one of New York’s finest, pep­per sprayed a group of young women already cor­doned off by a police bar­ri­er. Next they man­aged to get an 84 year old woman in Seat­tle. And now Lieu­tenant John Pike gives UC Davis pro­tes­tors a face full of pep­per spray, even though they were peace­ful­ly seat­ed on the ground. To make things worse, “When stu­dents cov­ered their eyes with their cloth­ing, police forced open their mouths and pep­per-sprayed down their throats,” or so claims Nathan Brown, an assis­tant pro­fes­sor in the Eng­lish Depart­ment. (You can read a first-hand stu­dent account here.)

Ini­tial­ly the chan­cel­lor of the uni­ver­si­ty, Lin­da P.B. Kate­hi, appeared to defend the police action. But, as the video above went viral, she began chang­ing her tune and call­ing for an inves­ti­ga­tion into the mat­ter. Noth­ing like a lit­tle trans­paren­cy … and some pub­lic sham­ing (below) … to make peo­ple see the light.

You can read a fuller account of Fri­day’s events in the UC Davis news­pa­per. Also don’t miss the paper’s col­lec­tion of pho­tos on Flickr. And I’d also rec­om­mend the analy­sis by James Fal­lows over at The Atlantic. Here’s the mon­ey quote:

I can’t see any legit­i­mate basis for police action like what is shown here. Watch that first minute and think how we’d react if we saw it com­ing from some riot-con­trol unit in Chi­na, or in Syr­ia. The calm of the offi­cer who walks up and in a leisure­ly way pep­per-sprays unarmed and pas­sive peo­ple right in the face? We’d think: this is what hap­pens when author­i­ty is unac­count­able and has lost any sense of human con­nec­tion to a sub­ject pop­u­la­tion. That’s what I think here.

And per­haps we can add this thought. If you’re the chan­cel­lor, the per­son charged with over­see­ing the edu­ca­tion and wel­fare of stu­dents, you should­n’t rec­og­nize the prob­lem with Fri­day’s events only when the polit­i­cal heat gets turned up. Talk about a lack of human con­nec­tion.…

Updates:

Offi­cers in pep­per spray inci­dent placed on leave

Learn about pep­per spray and the harm it does

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Werner Herzog: Movies Won’t Change the World

Wern­er Her­zog does­n’t work under any illu­sions. In this Stu­dio Q inter­view, the film­mak­er tells Jian Ghome­shi that “movies don’t change things.” “Even influ­en­tial doc­u­men­taries like Inside Job “do not real­ly change the course of our lives.” And that applies to his lat­est film, Into the Abyss, which takes a Dos­toyevskian look at a triple mur­der com­mit­ted in Texas. (See trail­er below.) Into the Abyss prob­a­bly won’t change the U.S. penal sys­tem, or how the death penal­ty gets met­ed out. But that was nev­er the point of the film, and it’s not why Her­zog threw him­self, body and soul, into what he calls the most intense film­mak­ing expe­ri­ence of his life, a project that left him feel­ing each day like he had been “hit by a truck.” The con­ver­sa­tion runs 25 min­utes. h/t @webacion

Relat­ed Con­tent:

Wern­er Her­zog Reads “Go the F**k to Sleep” in NYC (NSFW)

Wern­er Her­zog Los­es a Bet to Errol Mor­ris, and Eats His Shoe (Lit­er­al­ly)

Wern­er Her­zog and Cor­mac McCarthy Talk Sci­ence and Cul­ture

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The Story of Broke: An Animated Look at US Federal Spending and Values

Back in 2008, Annie Leonard pro­duced The Sto­ry of Stuff (see below), a 20-minute ani­mat­ed film that explores the way our con­sumerist habits take a toll on the envi­ron­ment and sus­tain­abil­i­ty. The video racked up mil­lions of views on YouTube, and now Leonard returns with the sec­ond video in a longer series. It’s called the The Sto­ry of Broke (see above) and it takes a short­er, ani­mat­ed look at U.S. gov­ern­ment spend­ing — at how we pri­or­i­tize our spend­ing, and what it says about our core nation­al val­ues.

We have a lot of mon­ey float­ing around. The fed­er­al gov­ern­ment col­lect­ed $2.16 tril­lion in tax rev­enue in FY 2010 (and we bor­rowed yet anoth­er $1.3 tril­lion more). Mean­while, rough­ly $705 bil­lion went to defense spend­ing, which is sev­en times (or $589 bil­lion) more than the next biggest defense spender, Chi­na. It turns out that oper­at­ing a bloat­ed empire with troops deployed across 150 coun­tries is a cost­ly nation­al pri­or­i­ty. Then, as Leonard points out, we also unthink­ing­ly fun­nel a lot of mon­ey, in the form of sub­si­dies and give­aways, to dinosaur indus­tries. And then we’re told that noth­ing is left over for Social Secu­ri­ty ($707 bil­lion), Medicare/Medicaid ($732 bil­lion), and edu­ca­tion. But we should­n’t take those claims at face val­ue. Where we spend mon­ey is a choice. It’s ide­al­ly our choice, but all too often it’s real­ly a mat­ter of what’s val­ued by our lead­ers and their finan­cial back­ers.…

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The Van Doos in Afghanistan (Free Until Monday)

A quick fyi: To mark Remem­brance Day, the Nation­al Film Board of Cana­da (NFB) has made Claude Guilmain’s doc­u­men­tary The Van Doos in Afghanistan avail­able online for a lim­it­ed time. You can watch it free until Mon­day. The NFB writes:

In this doc­u­men­tary, we hear direct­ly from fran­coph­o­ne sol­diers serv­ing in the Roy­al 22e Rég­i­ment (known in Eng­lish as “Van Doos”) who were filmed in the field in March 2011, dur­ing their deploy­ment to Afghanistan. They speak sim­ply and direct­ly about their work, whether on patrol or per­form­ing their duties at the base. The film’s images and inter­views bring home the com­plex­i­ty of the issues on the ground and shed light on the lit­tle-under­stood expe­ri­ences of the men and women who served in Afghanistan.

You’ll find oth­er free films by the NFB in our big col­lec­tion of Free Movies Online. It now has north of 435 films on the list.

David Crosby & Graham Nash at Occupy Wall Street; Echoes of Woodstock

First came Willie Nel­son, Pete Seeger, and Arlo Guthrie, and now Cros­by & Nash (sans Stills). Play­ing yes­ter­day at Occu­py Wall Street, their short set includ­ed Mil­i­tary Mad­ness, What Are Their Names, They Want It All, Teach Your Chil­dren (above), and Long Time Gone, which they sang dur­ing their hey­day at Wood­stock more than 40 years ago. A long time gone, indeed.

All of this pro­vides a good excuse to post anoth­er favorite video of ours — CSN’s one-time band­mate Neil Young play­ing Ohio, a now canon­i­cal song from the protest move­ment song­book. The haunt­ing clip was record­ed live at Massey Hall in 1971, and appears on one of the fin­er acoustic gui­tar LPs.

More Occu­py Videos:

Noam Chom­sky at Occu­py Boston

Slavoj Zizek Takes the Stage at Occu­py Wall Street

Joseph Stiglitz and Lawrence Lessig at Occu­py Wall Street

 

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