The Audacity of Taupe
Credit: Bob Schutz/Associated Press
Apart from the silly play on one of Obama’s book titles, there’s some interesting rhetoric to be read from this slide NYT Slide Show: The Oval Office Through the Decades
Fieldnotes: Greygoose Framing
While doing a quick Flickr search today for “Date Farmers Obama” I came across an interesting photo/text. The image shows a Fairey Obama print in the window of “Greygoose Framing” (perhaps Grey Goose?). The accompanying text, by username “thisisjorge” aka: Jorge Rivas spurred me to email him about a possible interview when I finally begin building my field study plan:
I finally got my Date Farmers Obama print framed and I was very happy to see the big Obama poster next door.
But I also thought about this frame boutique as another site within both informal and formal art for Obama networks.
Tags: California, Fieldnotes, Flickr, Obama Artright-wing demaking
Deb Nicklay -AP/Globe Gazette
Via the BAG, I keep thinking about how the progressive grassroots visual culture during the 2008 Campaign has informed right-wing counter measures. The anonymous Obama as the Socialist Joker posters come to mind as the most notorious. But also, looking at images like this I’m reminded how the progressive Obama aesthetic is borrowed and remixed into right-wing narratives, as if the aesthetic itself is evidence of Obama’s socialism.
I haven’t paid too much attention to grassroots right-wing visual culture mostly because it didn’t appear very vibrant until after the election, which is outside my research parameters. But I am interested in the ways progressive aesthetics are remade through the lens of Cartwright and Mandiberg’s thesis about Obama and political iconography in the age of the demake.
Do these right-wing demakes ultimately fail when relying too much on the original graphic/font/iconograpy? In other words, does the redeployment of progressive graphic language undermine the right-wing rhetoric? I would not characterize the image above however as a demake, its pretty straight forward, boiler plate right-winger narrative at play. And I think it works for the intended audience of sympathetic tea partiers. But do notice how the Obama “O” logo is equated as an equally suspect political symbol with the Nazi swastika and Soviet hammer and sickle.
- Lisa Cartwright and Stephen Mandiberg, “Obama and Shepard Fairey: The Copy and Political Iconography in the Age of the Demake.” Journal of Visual Culture August 2009 8: 172-176.
See also, Dora Apel, “Just Joking? Chimps, Obama and Racial Stereotype.” Journal of Visual Culture August 2009 8: 134-142.
Obama and American Gothic
an untrained eye, "America Face To Face With Itself," November 2nd, 2008 - Chicago, United States
I came across this photograph today during my daily Flickr research ritual. I’m interested in this image for several reasons but particularly because the photographer has situated an anonymous black man in place of Obama rather than appropriating Obama’s image. This was taken and and uploaded just days before the election. What’s more, he wrote that he didn’t find out until after shooting it that Obama refers to Grant Wood’s painting “American Gothic” in his memoirs, Dreams From My Father. Referring to both the painting and the photograph one blogger made an interesting observation about reader subjectivity noting, “What a lesson for me! When I’ve looked at Wood’s painting, I’ve always seen American insularity…and people to whom I attribute all manner of pettiness and prejudice. When Obama looks at them, he sees his family!” Referring to the painting Obama writes that it reminds him of “…a place where decency and endurance and the pioneer spirit were joined at the hip with conformity and suspicion and the potential for unblinking cruelty.”
Secondly, there’s the multiple intertextualities to consider that are carried through Flickr and other social media. This seems like an example, though not deliberately so, of Miwon Kwon’s explanation of the spatialization of discourses through “nomadic narrative” practice. (Kwon, 2004: 29).
Responding to a comment here’s what the photographer had to say about the shot:
I’d vaguely thought I’d like to post some topical image just before polling day, but I had no particular idea in mind. Then when I was in the Art Institute on Sunday morning, I saw a guy dressed from head to toe in black leather, hair dyed jet black, eyeliner – and I thought “I’ll try to catch him in front of the Grant Wood picture – I’ll call it ‘Who you calling gothic?’ or something like that.” I positioned myself on the conveniently placed bench right in front of the picture and waited. But when after fifteen minutes he finally came into the room he walked straight by the Wood, barely giving it a glance. I sat cursing him silently to myself for a moment, and had just decided to get up and head outside to the sunshine when this immaculately dressed black man came in – and miraculously all the other people in the room seemed to back away simultaneously, leaving me a clear shot of him all alone in front of the picture. The happiest of accidents.
Image: An Untrained Eye “America face to face with itself.”
Tags: Flickr, Obama, rhetorical mobilityPOTUS AVATAR
President Barack Obama and First Lady Michelle Obama wear 3-D glasses while watching a TV commercial during Super Bowl 43, Arizona Cardinals vs. Pittsburgh Steelers, in the family theater of the White House on February 1, 2009. Guests included family, friends, Cabinet members, staff members and bipartisan members of Congress. (Official White House Photo by Pete Souza)