After spending Friday night in jail,  today,  street artist Shepard Fairey was arraigned today in Boston for allegedly  pasting “Andre The Giant” graffiti near an entrance to the Massachusetts Turnpike and the Boston University bridge across the Charles River–nine years ago.   Fairey also countersued the Associated Press–who  sued him last week   for basing his now famous Obama “Hope” poster on a copyrighted  AP photograph.

Having seen the poster at Fairey’s opening at the Institute of Contemporary Art last week, I agree with him that the poster significantly transformed the photo (actually, I think, improved it and turned it into art)  and, thus, does not violate copyright law.  What’s more, Fairey has not sold the work–and, while he might have enhanced (and now harmed) his reputation by distributing it for free, he did not directly use it for financial gain.

The “tagging” of public places and ensuing  arrests are part and parcel of Fairey’s art.   He  and his work present a provocative and humorous challenge to authority; the bruhaha  publicizes Fairey’s image and images,  delights upstarts, and, I suppose, infuriates the powers that be. It also  promises to enlarge the coffers of Fairey,of the ICA (whose director,  Jill Medvedow recently sent out an email of support on Fairey’s behalf)  and, especially, of the lawyers.

Still,  with the world  going to rack and ruin, it’s nice to know that some people are making money– and  fun to have a new set of old issues to focus on.

AMH

New Cambridge Observer is a publication of the Harris Communications Group of Cambridge, MA.

Shepard Fairey and poster

Kudos to Boston’s Institute for Contemporary Art for mounting a spectacular 20-year restrospective of Shepard Fairey’s work–which opened for members on Feb. 4, 2009.

Entitled  “Supply and Demand,”  the show, which runs through August 16, 2009,  includes some 200 stickers, posters, portraits, and murals, including the now iconic Barack Obama “Hope” poster which has found its way all over the world.

The show  traces Fairy’s work  to the 1980s when, as a teenager in Charleston, South Carolina, he was attracted to counter-cultures like skateboarding and punk rock–and their stickers–and began making his own.

As a student at the Rhode Island School of Design in 1988,  Fairey instructed a friend in making a paper cut stencil using an image of Andre the Giant, who a popular figure in the World Wrestling Federation, am  ICA handout explains.  The two then paired the face with the phrase “Andre the Giant has a posse,”  and over the next six years, produced more than a million hand-printed and cut stickers, which Fairey sent to friends who posted them all over the US.

(On a huge campaign billboard, he also used one to cover the face of then-Providence mayor Buddy Cianci, who says sheepishly in an accompanying video that this disturbed him because it was defacing property. It’s all the funnier in hindsight, knowing that Cianci was later jailed on corruption charges).

Toward the end of the 1990s,  Fairey started to challenge what the ICA calls the “corporate advertising machine…He asks  us to consider whether the so-called ‘public space’ is really public.

“Most advertising takes an ‘in your face’ approach to sell or influence consumers. Fairey’s Obey giant campaign–which features the word “obey” and other slogans [on a variety of images ]sells nothing but its mysterious imagery, ambiguity and underground appeal  has made passers-by worldwide question the visual noise that crowds our streets”–as well as the insidious advertising messages used to command us.

One large room features portraits–some of which  incorporate the “obey” command.  One print portrays George W. Bush as a vampire, with blood running out of his mouth.  Other portraits feature musicians, guerilla leaders, gang members,  Muslim women, and additional political leaders.

A highlight is  Fairey’s iconic “Hope” portrait of Barack Obama, which “has spread like a virus on TV, in print and online, on t-shirts and buttons, and guerilla-style on streets all over the globe.”

The poster seems particularly poignant with Obama, now in his third week as President,   facing not only a terrible economic situation and two wars, but also the disintegration of a seemingly promising leadership team whose members betrayed him and us for personal greed.

The exhibit, co-curated by guest curator Pedro Alonzo and Emily Moore Bouillet, former assistant curator at the ICA, and sponsored by Levi-Strauss culminates with a set of four stunning, intricately designed,  murals.

Commissioned by the ICA, the murals, along with  the other components and the exhibit as a whole  are inspirational.

Not only do they each  convey provocative messages about individuals’ relationship to power and commerce,  but they  embody and communicate  an individual’s ability to  follow his creative instincts and passion to achieve artistic and, ironically,  commercial success.

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Having arrived on time for the opening, I didn’t have to wait in line–but in a lovely wine reception on the second floor, was told that people who  got there early had to stand outside in the cold until the official opening time. in leaving, at around 8 PM, I had to cut around long, winding lines of people in the lobby who were waiting to sign in.

My only beef  was the lack of beef…the wine was fine, but my companion, Mark H. and I would have appreciated a few chips to go along with it.  Next time, I’ll definitely arrive on time–and eat before I go.

AMH

New Cambridge Observer is a publication of the Harris Communications Group of Cambridge, MA.

Yesterday was sparkling cold and sunny so Sheila and I decided to drive up to Salem to visit Treasures Over Time, one of  the loveliest shops I’ve ever been in–and for someone whose favorite sport is shopping, that’s saying a lot.

Founded by proprietors Nestor and Sivan Sergott,  the shop, recently relocated to 139 Washington Street, features  gems and geology: hand chosen, hand made decorative, home and office and jewelry items made by international artists and artisans from mineral materials all over the world.

As the Webite explains, Treasures Over Time is all about time. The hundreds of millions of years it took nature to present us with her gifts. Time brings diversity of form, color, texture, morphology, landscape and clues about ancient life into our lives.

Serpentine Vase

Some of my favorite pieces are made of serpentine–rock sculpted into useful objects, then fired at high temperatures, which brings out their colors.

We also loved the jewelry–and the

Pendant

fantastic collection of fossils, and        rough mineral specimens, all beautifully displayed  in the two-room  store.

Full disclosure,  Sivan’s grandmother and mine were sisters; one reason for the trip was to discuss  a show of photographs of rock formations I took on the South Coast of Australia–which, we agreed will happen sometime this Spring.

Anita

New Cambridge Observer is a publication of the Harris Communications Group, of Cambridge, MA.

On a freezing cold January afternoon, my companion and I decided on a quick getaway to Boston’s beautiful new Institute of Contemporary Art.

With Tara Donovan’s fantastical landscapes (composed of everyday objects like paper cups, toothpicks and drinking straws) now dismantled and a show of  street-artist (and Obama portraitist) Shepard Fairey yet to launch,   my companion and I were able to focus on highlights of previous exhibitions,  the work of emerging artists chosen as finalists  the ICA’s 2008 Foster Prize, the wonderful late afternoon light, Peet’s coffee  ($1.80) and huge brownies ($3.00) in the ICA cafe, which overlooks the water.

My companion, a college student just back from a semester in Israel, was particularly taken with Rania Matar’s  photographs showing moments of stability in wartorn Lebanon: an elderly woman in a business suit eading the same newspaper as black-dressed muslim women,   children playing amidst the rubble, and a stately home, seen through building ruins.

I liked having the quiet time to ponder acquisitions from previous shows:  Paul Chan’s digital animation of shadows,  and Roe Ethridge’s photograph of Countyline Meadowmere Park, in Long Island, New York.

A favorite oddity–by the French-born artist Kader Attia–  was  what appeared to be a relaxing video of  ice cube slowly melting and shifting against a brick backdrop …until closer inspection  (and the writeup) revealed that we were watching  oil turn sugar cubes into black, oozing goop–in a statement on global environmental decay.