“I write to record what others erase when I speak, to rewrite the stories others have miswritten about me…” – Gloria Anzaldúa
Dear Shepard Fairey,
My name is Aura Bogado. Remember it. The fact that you have chosen, on more than one occasion, to incorrectly describe an exchange we had several years ago provides an opportunity for me to set the record straight; and it should result in an opportunity for you to move beyond your self-victimization. Although you assume I am Mexican, I am Argentine. Although you assume I am someone else’s nameless property I am my own human being. And although you assume I am a young, dumb girl, I am intimately close to what I write and talk about.
Instead of using my name in your book, “Obey: Supply and Demand”, you refer to me instead as an artist’s girlfriend when you describe an email I sent you about a decade ago regarding a parody you created of Che Guevara (although I remember it instead as a public exchange we had at a gallery). In your book, when you describe me as “an outspoken Mexican girl”, you write that I said that I referred to Che as “my compañero”, and that I felt that you were desecrating my culture. You then go on to explain that “Che wasn’t Mexican, he was Argentine.” It’s baffling that you would write that, as it is widely known that Che is considered a “compañero” throughout Latin America, including Mexico.
Suddenly, two years later, you tell a very different account of the conversation. In an interview published in the March/April 2008 issue of Mother Jones, you talk about me in this way:
“I met a girl who was Mexican, who got totally in my face about my parody of Che Guevara’s image, which was based on the fact that it’s already been really exploited to the point that it’s become somewhat meaningless. And she was like, ‘You desecrate my companero.’ I was like, ‘For one thing, he wasn’t Mexican; he was Argentinean …’ It’s like me saying that you insulted someone from Europe and I’m of European descent. It’s such a stretch. She wasn’t in the mountains with Che eating squirrels. It’s just ridiculous.”
I have to credit the fact that you do have one thing right in your latest tirade: I was never in the mountains with Che eating squirrels. Other than that, you are dead wrong. That brown girl whose name you seem to forget is not Mexican. That brown, nameless girl was instead born and raised in Argentina. That girl’s father is a Communist who survived the atrocities of a brutal dictatorship. That girl has a brother who lectures on Guevarismo – a political teaching of communism derived from Che Guevara that focuses on radical social change through armed struggle. That girl grew up hearing story after story about El Che, and although she is not a Communist, she learned at an early age where Che was from and who he represents to her people. That girl is me, Aura Bogado, and it’s no stretch to state that I never turned to you to learn my Che 101 – that would be ridiculous.
My apologies: did I say you only got one thing right in your rant? It seems I left something out – you mentioned that I said that you desecrate Che. I will write now what I said then: your work disrespects icons of color. That is what I remember about our conversation, I was trying (and obviously failed) to explain the way in which you culturally appropriate the images of icons of color, like Che and others, for capitalist gain. That was the crux of what I talked about. You never schooled me about where Che was from – his nationalities (we sometimes consider him Argentine and Cuban, not to mention that he was an Internationalist) never came up when we talked; yet somehow, nearly a decade later, something about the event just seems to stick with you. It seeps into your book, it seeps into your interview. I can only hope that an accurate account of our conversation will seep into your consciousness as well. As an artist, you are not forced to agree with my interpretation of your images – but as a human being, you should be held accountable to tell the truth. Good luck with that one.
Sincerely,
That Brown Girl (also known as Aura Bogado)
29 May, 2008 at 1:20 pm |
Well said, golden girl…PA que sepa!!!!
29 May, 2008 at 10:48 pm |
Write On Sister! Calling out all the boujie Graff/Graph Artists who pull images from people’s struggle and strip those images of all it’s context, history and action.
30 May, 2008 at 6:03 am |
Kind of missing the point.
Shepard appropriates everybodies work. Back when he was using the Che Icon he was also using Saddam Hussein and there’s nothing to milk from that association. He also used George W around the time of 2002 when it was not cool to be bagging on the president from the hysteria of 9/11. The first print he had to publish anamously for fear of reprisals.
30 May, 2008 at 2:18 pm |
So…… Are you Chinese or Japanese?
30 May, 2008 at 3:57 pm |
who cares, stop whining
30 May, 2008 at 5:02 pm |
i dont get it
30 May, 2008 at 5:04 pm |
ok now i get it
you raise several good points, respect to you.
31 May, 2008 at 4:20 pm |
damn preaty nice work i like this man hey i have my own lil website a bout new york graffiti so if u would like to check them out its all city graffiti from guys from bronx and queens brooklyn manhaten and i have vedios check them out here it is http://www.8avexpress.webs.com and my new one http://www.8ave.webs.com check them out
21 June, 2008 at 10:11 pm |
shepard fairey manufactures his shit in china…
therefore making him a supporter of capitalistic slavery..like all the other motherfuckers that are sleeping in this this world.
STOP BUYING HIS SHIT!!
14 July, 2008 at 4:22 pm |
JG. YOU are missing the point here. Fairey is taking other artist’s illustrations, not giving them credit, not pointing out anything about their original intent, thereby nullifying his argument that he uses them to “spread the word about politics” or teach anyone anything. He has used illustrations, photographs, prints….maybe you should do some more research on your hero before you defend him in a public forum.
As a fellow artist, I am offended when I see the original pieces that he has ripped from, and the consequential t-shirts and posters he makes and sells for ridiculously high prices. Nowhere do I see any information or credit lines about these people. He “thought” that he wouldn’t be able to contact Rene Mederos or his family about a famous Cuban poster that had been reprinted in two different poster compilation books??? Really???? And then uses that image, cleverly changing the name, without even quoting where it came from? How is this doing anything for anybody except him? That’s just the beginning. There are many other examples of this, which aren’t hard to find.
And then to top this off, he keeps bringing up a story about the girl who wrote this blog. The fact that he is so defensive when he tells it, no matter what really happened, and the fact that he keeps telling it over and over, shows that he feels guilty about something. Maybe he should.
24 July, 2008 at 3:01 am |
The one issue that all of you have missed, as so many have (even fans of Shepherds) is the actual face in his Che poster is Andre The Giant. He fused the two iconic images albeit one of his own and the Albeto Korda image (declared to be the most famous photograph in the world) to speak more about phenemonolgy and iconic images that are exploited without any knowledge of the issues or ideals surrounding the icon. No where do I see in your argument weather or not you inquire the piece to be perhaps an homage. Instantly you are offended. Che and / or his image are not the property of Latin Americans, Mexicans or even Cubans. His ideals weren’t just for brown people. As a snow-white, pasty, blue-eyed gringo he may also be a hero to me. I also see him as a brutal guerrilla who helped install a man who’s hands are not clean of the blood of innocents. I know many folks who escaped from Cuba. They too have stories. History is always written by those who win. Those winners are defined by the view from your boarder, open or closed.
There are countless manufacturers that are making money (lots of it) on the original Che image without mention or credits to Korda. I’m very sure that 90 percent of the people sporting the trend even know who Ernesto Guevara was or what his ideals stood for. The trend of sporting a twenty-five dollar t-shirt with Che’s image on it makes you a fool! Che was an extreme Marxist. The very idea of capitalism surrounding his image reveals and embodies ignorance. The icon of Che is more talked about then his actual ideals. Korda’s image has worked its way into languages around the world. It has become an alpha-numeric symbol, a hieroglyph, an instant symbol. It mysteriously reappears whenever and wherever there’s a conflict. Shepherd’s use of parts of this icon are innocuous. His failure to educate doesn’t make him a bad person. It’s not his job! He’s an artist in your face, weather he makes money or not, stop whining and educate YOURSELF. Shepherd’s omission of the little brown faced girl “Aura Bogado” and their true exchange is important only to her. Perhaps, had he mentioned her actual name could it be open grounds for a more litigious reaction. I find it smart that he doesn’t name her or give the exchange much more than a paragraph. After all it’s about art. At least we are talking. No guilt need be aimed. It was a conversation between two people… the news just reported a lady in Kansas just thanked the local fire department for getting her cat out of a tree. Who is that important to? I’ll ask the cat… he was in the tree.
viva la posse
16 October, 2008 at 2:04 am |
I’d like to know why people call Obama the Champion of Art and Culture when he walks hand in hand with Shepard Fairey who is a copyright violator. How can Obama support the arts while slapping the rights of artists in the face?
Shepard makes interesting work but you never know how much of it he actually made himself. The guy gets upset when people violate his copyright but he does not care if he steals from you or I. There is a difference between Prince nabbing cigarette ads and calling them his own and Fairey stealing from artists hoping that no one will find out. His work should be questioned. But according the Mother Jones interview Shepard will point out that he is beyond questioning because he has donated thousands to charity. Sad.
Why did Obama turn away donations from Rezko, a criminal, only to accept over $400,000 from Shepard Fairey as his official campaign artist? Is Shepard not a criminal? And why did Obama praise Shepard’s career and illegal activity in a letter to the artist? In my eyes that means Obama does not care about the rights of artists and he supports activity that costs tax payers billions per year. That money could be spent on creating art centers for troubled area. That money could pay for one reactor per year to help with the energy crisis. Instead Obama supports street art and studies have shown that illegal street art has raised 35% since Obama accepted Shepard Fairey as his offical campaign artist.
18 October, 2008 at 11:06 am |
prob this has been brought to Obama’s attention, and if so, what was his response…
d
26 October, 2008 at 1:09 pm |
Dreamy! No, for real. Great letter…
10 January, 2009 at 1:39 pm |
Shepard Fairey is the epitome of white culture vulture. His plagiaristic “art” is a consumerist rape of our people’s heroes.
11 January, 2009 at 3:22 pm |
Great letter Aura!
One thing struck me while reading it: that maybe he was writing about a different woman—someone else who confronted him in the same way you did—and she actually was Mexican.
I mean shouldn’t there be a line around the block of people wanting to verbally slap this guy?
Meh, maybe not. Probably won’t listen anyway and doesn’t deserve the attention.
2 February, 2009 at 2:28 pm |
interesting enough, super touch has posted a response to all this obey plagarism:
http://www.supertouchart.com/2009/02/02/editorial-the-medium-is-the-message-shepard-fairey-and-the-art-of-appropriation/
3 February, 2009 at 8:33 am |
The Supertouch article misses the mark. I posted a comment there, but it might not make it through moderation, so I’m re-posting it here:
Those of us who are criticize Fairey do not do so out of envy, we do it out of compassion. Whereas Warhol and Lichtenstein appropriated images from the hegemonies of corporate and pop culture, Fairey exploits the struggles of people of color. There are many white artists who their art to support people of color in their struggles (the Just Seeds Collective is a fine example) but what Fairey does is more akin to blackface minstrelsy then political action.
Let’s take the Black Panther Party for Self Defense as an example. The Panthers came up at the tail end of the Civil Rights Movement, right when U.S. involvement in Vietnam was thickening. Their campaigns were very successful and they mobilized many African-Americans into a process of radical self-determination. Part of their strength was in their graphic arts and protest as performance. The Panthers were seen as a threat to the white power structure that dominated the country, and so the FBI created a special program (COINTELPRO) just to deal with them. What the FBI did was brutal and illegal, but hey—they’re the FBI. They can do what they please. Black revoltuionaries cannot.
So I ask: Do you how many Black Panthers are still in jail? How many were murdered for their beliefs? How do you think it makes the surviving Panthers and their families feel to see their faces supplanted by that of Andre he Giant? How does it make them feel to know that their loved ones are imprisoned or dead while the money from these exploited images flows into a white man’s pocket?
Aesthetically, I’ve enjoyed Fairey’s work since he began putting his stickers and stencils up around Boston and Providence. When he started showing in galleries, I went. And when he started exploiting the faces of Che and Assata, I stopped going—not out of ignorance about art, but out of knowledge about history.
Some good articles about this:
Favianna Rodriguez: http://favianna.typepad.com/faviannacom_art_activism/2009/01/a-critical-look-at-shepard-fairey.html
Josh MacPhee: http://www.justseeds.org/blog/2007/12/a_response_to_obey_plagiarist_1.html
Mark Vallen:
http://www.art-for-a-change.com/Obey/index.htm
24 May, 2009 at 1:04 pm |
Да это действитеьно интересно, будем ждать продолжения
здесь видел ет gamebulletin.ru