Fairey fallout
To the
right’s delight, there’s been no shortage of knocks on President Obama’s “cult
of personality” lately — from being rebuffed by
the IOC to being mocked
by SNL. That’s to say nothing of the Nobel prize pretty much no one thinks he deserves.
And now
there’s this: that hugely iconic red and blue image of Obama — a bit of
hope-imbued agitprop by street artist Shepard Fairey which, at least until the
official one is commissioned, is effectively the unofficial non-photographic
White House portrait — is now the subject of heated legal proceedings.
Because, as
we all know, it is photographic (as
based on a photograph), and it was revealed last week that Fairey fibbed
about the provenance of the original, copyrighted photograph from which
it’s derived. Not only that, but he destroyed evidence to cover-up and
perpetuate his misdeed. The response? The Associated Press has filed
new papers in its court case against Fairey, adding “purposeful
deceit” to its initial copyright claim.
What could
be the consequence of this? Bad
stuff, says “art and law” blog Clancco. “There
may ... be criminal sanctions — obstruction of justice, perjury, and false
statements come to mind. Or criminal contempt. The Department of Justice may
find this of interest.”
Yikes.
So how does
the President feel about having the portrait that helped launch him into the
Oval Office tainted by these tangled legal proceedings? The White House had no
comment when reached by the Phoenix.
One
organization that did have a comment, though, was Boston’s Institute for Contemporary Art,
which, you’ll remember, held a huge Fairey
retrospective earlier this year. ICA
director Jill Medvedow supplied the Phoenix
with the following statement.
"The
ICA was honored to organize Shepard Fairey's
first ever retrospective and to share two decades of his work with over 100,000
visitors in Boston.
Shepard's creative style and energies have always drawn upon culture at large
and reworked and transformed common elements into uncommon art and social
commentary. Regarding the recent developments in his lawsuit with the
Associated Press, it is always sad to see people you admire make a bad
decision, but Shepard himself states that he made mistakes, and he has
apologized for them. We would also remind people that the art itself, not least
the famous "Hope" poster, remains powerful, relevant and a lens for
many of the critical issues of the moment.”
In addition
to the possible legal sanctions, its seems reasonable to say that Fairey’s
ill-advised skullduggery has “only strengthened the image of artists as clowns
and buffoons in the eyes of judges and lawyers,” as Clancco puts
it.
The
question now is whether or the not that image is cemented in the minds of other
museum directors and curators. Fairey’s shenanigans probably haven’t done too
much damage to his already shaky
street cred, but it’s a safe bet that it’ll be a good while before his works
are showcased again in any fancy museums.