“A,” the art director on one our current projects, shows off his brand-new, super-rad summer Fred Perry sneakers.
This recent street art (pictures below) by the street artist “WhIsBe” in New York City is charged with provocative imagery and is a striking piece of commentary on corporate brands and the military. The artwork is a mash-up of the McDonald’s corporation’s red-headed clown mascot Ronald McDonald and its branding with fascist militaristic images (Hitler moustache, Nazi salute and uniform). This is one of the more exciting, fresher pieces of street art we’ve seen in a long time. If this wheat-paste street artwork is still up, you can find it on a wall on Thompson Street between Spring and Broome streets in SoHo.
It’s important to note art history has a long track record of artwork and artists being misunderstood and controversial. Or, to be more precise, of artists and their artwork being interpreted in multiple, vastly different ways by its audience. Especially public art and street art, which lacks the institutional context of the museum or gallery and the curatorial background that context provides to viewer. Street art imposes itself on the landscape and thus the audience. (Whereas viewing art at a museum or gallery is by and large an exercise in the audience opting in to the experience.)
WhisBe’s mash-up of military imagery and a global corporate brand to create the “McDictator” is a way of vividly, boldly taking well-known visual references and using these to make a powerful, critical and thought-provoking comment on a specific brand and corporation: McDonald’s. That’s one read. Another read is that it’s a comment on the dangers of fascism and totalitarianism, especially when these are promoted behind a cheery, charming disguise (a happy clown).
There is no explicit using of Nazi symbols in the artwork, but the figure’s pose is with little doubt derived from an archival photo of a Nazi solider (possibly Hitler) and the infamous salute, and anybody familiar with 20th Century history will recognize it as such. While some of the symbolic imagery is offensive in and of itself, it would be a misreading to think the artwork is condoning or trying to paint a positive face on the evils of fascism or Nazism and its horrors.
The imagery is a piece of visual shorthand. When this visual grammar is re-configured, re-contextualized, juxtaposed and mashed up with the McDonald’s imagery, it’s making an entirely different artistic statement than, say, if someone were to put up unadulterated photos of Hitler himself.
But like all art — in all its forms — it is the individual in the audience to make of the art what they will, to derive what meaning there may be in the work, and arrive at some understanding of it after critical thought.
See more examples of WhisBe’s street art on Global Graphica.
These wheat-pasted Alife ad posters on Crosby Street, in SoHo, are trying to be provocative but feel conceptually kind of tired to us, even though we’re seeing them here for the first time. We suppose the ads work on a brand-awareness level, since we’d forgotten the clothing brand and hadn’t seen it anywhere for awhile. Maybe our tastes have changed and where we shop for clothes isn’t where Alife is stocked anymore.
This graphic on a wall in Shibuya, in Tokyo, looks and feels like a piece of street art and could have been created by stencil, paint-print, heat transfer or painted by hand. It may be graphical logo for a restaurant or company brand mark. Whatever it is, we think it’s frackin’ awesome. The image itself looks like a super-simplified rendering of a mythological Buddha-like character from Japanese historical iconography.
(Hey readers! If you can identify what this is, send us an email.)