Freight Train Graffiti Gets Political

Riding the rails: this three-part series of freight-car graffiti murals sees a lot of landscape—and spreads a message everywhere it travels.

BAILOUT - The first in a series of three boxcars with graffiti, this one expresses anger over the economy with the all-caps "Bailout" and the words "consolidating power" to the side.

The all-caps pieces spell out “BAILOUT,” “IMPEACH,” and “POVERTY,” but are accompanied by some instances of smaller type reading: “Secret Prisons,” “Liars, Killas, Cronies,” and “Consolidating Power.” The cartoon character Scrooge McDuck appears at the end of the “POVERTY” mural with bags of money at his feet, at once adding contrast and irony to the mural itself.

POVERTY - The boxcar with the word "poverty" on it features an ironic Scrooge McDuck with bags of money at his feet.

According to the Minnesota Independent, a small newspaper having run an article on the graffiti, the murals were done in 2009 and express outrage over the state of the economy. They were drawn by the Abe Lincoln Brigade, a politically-motivated crew of graffiti writers who target trains as mediums on which to express their protest over various current events.

IMPEACH - The final boxcar reads "Impeach," perhaps a solution toward improving the nation's economy, as viewed by the Abraham Lincoln Brigade.

In fact, die-hard graffiti artists consider freight cars the ultimate canvas, right next to high-flying billboards, overpasses, and the sides of bridges. Trains provide a moving, never-ending art exhibition of talent and effort that never gets old and is impossible to equate with more traditional graffiti avenues. Unlike stationary works on buildings and walls, train murals are not familiar—they’re new to someone different every day. Furthermore, so long as artists are careful not to paint over railroad identification numbers or the name of the rail line, their art is likely to be left on the boxcar. Graffiti is expensive to remove, and rail companies simply can’t afford to have a boxcar out of service for any period of time.

But the best part of writing graffiti on freight trains? What you create always comes back.

Back In 1984

George Orwell would be proud. There are still people yearning after 1984.

In his futuristic book, 1984, written in the 1940’s following World War II, Orwell predicted a world overrun by probing governments and intrusive surveillance technology by the year 1984. Twenty-eight years following the passing of his magic year, there are still those hopefuls waiting for his prophecy to come to fruition.

Like whoever painted this lovely piece: “Feliz 1984” accompanied by a pair of binoculars. Talk about irony. For anyone who has read 1984, it’s not a happy picture. For starters, the novel is categorized as a dystopian novel (not to be confused with utopian) about a society in a state of perpetual warfare in which the people undergo incessant public surveillance and unrelenting mind control. In this society heavily influenced by technology and overwhelming propaganda, individuality and reason are crushed in favor of unwavering obedience to government, industry, and country.

BACK IN THE GOOD OLE DAYS - This artist advocates for a society similar to the one in George Orwell's dystopian novel, 1984.

Big Brother, the cult personality of The Party regime in this otherworldly society, instills fear in citizens with the slogan “BIG BROTHER IS WATCHING YOU.” Hence the addition of binoculars to this piece of art. Perhaps the most depressing element of Orwell’s society, however, is the complete lack of citizen awareness. The government blatantly manipulates, and the people blindly follow—unknowingly entrenching themselves deeper into a web of brainwash. And those select few who do suspect foul play are either too frightened to act or suffer the consequences of speaking up.

In short, 1984 is anything but “feliz.” Nothing could be less happy, or farther from reality today.

The Truth About Freedom

This piece of political art, stamped on a metal surface (perhaps a post office drop-box) in Manchester, England, uses the famous phrase, “Man is born free, but is everywhere in chains” by Jean-Jacques Rousseau to make a statement.

CONTRADICTION - This stamped message uses a famous quote from French political philosopher Jean-Jacques Rousseau to send a message about the truth of freedom.

Rousseau, a French political ideologist of the 1700’s, originally coined the phrase while referring to governments at the time, which were organized under the divine-right theory. Under this structure, rulers were thought to have been appointed by God, and being so appointed, were given authority to do virtually anything. Rousseau was one of the first philosophers to openly disagree with this model.

With this rather cryptic phrase, Rousseau asserted that states at the time were in fact repressing the physical freedom that is the peoples’ birthright and were doing nothing to secure civil freedom for citizens. In other words, while man was free in theory, the number of social, political, and civil restrictions placed on him could not amount to true liberty.

The use of the phrase in modern society carries the exact same meaning: freedom isn’t really as free as it’s advertised.

Author of The Social Contract, Rousseau theorized about the most appropriate relationship between individuals and their government. Legitimate political authority, he suggests, can only be derived from a social contract agreed upon by all citizens for their mutual protection. Individuals assemble into a political society only after agreeing to abide by common rules and accept corresponding political duties to ensure a long-term effective government.

ON GOVERNMENT - Rousseau's highly influential book, The Social Contract, theorized about the best possible and most effective relationship between a government and its people.

Rousseau deems the collective group of citizens the “sovereign” and claims that it should be considered in many ways like an individual person. While each individual has a particular will that aims for his own best interest, the sovereign expresses the general will that aims for the common good. The sovereign only has authority over matters that are of public concern, but in this domain its authority is absolute.

Rousseau’s Social Contract outlined four basic premises:

1)     Man is born free, and everywhere he is in chains.

2)     The Sovereign, having no force other than the legislative power, acts only by means of the laws; and the laws being solely the authentic acts of the general will, the Sovereign cannot       act save when the people is assembled.

3)     Every law the people have not ratified in person is null and void — is, in fact, not a law.

4)     The legislative power belongs to the people, and can belong to it alone.

As is clearly evident from the premises, The Social Contract argued against the idea that monarchs were divinely empowered from God to rule and legislate. Rather, only the people, or the “sovereign,” are granted this all-powerful right. Rousseau’s ideas inspired political revolutions in Europe, particularly the French Revolution in France.

Furthermore, Rousseau’s social contract theory of government played an important historical role in developing the idea that political authority must derive from the consent of the governed, a principle regarded with the highest degree in American political ideology today.

STOP! In the Name of War…

It’s a sign.

This is clever art. Think of it. Think of the idea formulating in the back of the artist’s mind. Think of the him planning a perfectly-cast shadow. Think of him etching in the letters “W-A-R” in the same font and height as the word “STOP.” There’s just something intriguing about the process of creating this. And a note of jealousy too—like wishing you’d been the one to think of it.

STOP! IN THE NAME OF WAR - Using a shadow concept, this anonymous artist created a clever piece of political art with a strong message.

Some degree of respect deserves to be awarded to this graffiti artist. Rather than haphazardly scribbling “war” on the stop sign, an act which most assuredly would be considered common vandalism, he created a piece of art.

In effect, more than a sign.

Dreams Slashed, Dashed in Banksy Stencil

Banksy is probably one of the most obscure famous people in the world: very few know him, but thousands know “of him.” It’s remarkable, really, given the nature and popularity of his art.

This London piece is another powerful example of Banksy’s identity as an artist. Staying true to his characteristic themes—which often include greed, poverty, hypocrisy, despair, and alienation—Banksy depicts a freshly painted “Follow Your Dreams” inspirational message that is promptly crossed out with a big, fat, red “CANCELLED” sign. Reminiscent of “No Smoking” signs, Banksy’s stencil says it all: dreams not allowed. And the poor painter, looking rather stunned to be standing next to his altered art, is subjected to a harsh reality.

NO DREAMS ALLOWED - Another Banksy stencil graffiti, this one dashes the hopes of Brits without a worry in the world.

Imagine if dreams really could be dashed this easily. Like a class, flight, or CW television show, cancelled with the quick slash of a decision made by someone who cares not. Thankfully, in our world of ideals derived from the ever-inspiring American Dream, such a hope-shattering outlook is unlikely.

A British graffiti artist, political activist and painter, Banksy introduced himself to the art scene in the late 1980’s and has since progressed into a prominent artist, political activist, self-published author, and film director. His politically-charged works typically evoke an array of political and social themes, including anti-War, anti-capitalism, anti-imperialism, anti-authoritarianism, anarchism, and nihilism.

Considered a common vandal by some and a closet genius by others, he is no doubt a talented artist. Despite his oftentimes controversial opinions and political views, Banksy produces overwhelmingly creative pieces and deserves to be recognized for the contributions he has made to both the political art and graffiti genres.

Conservative Con Men

Bubbly letters always look so innocent. They’re Comic-Sans-esque: reserved for cheesy party invitations and middle school notebook scribbles of “I heart Joey.”

But in this instance, the bubbly’s are carrying a lot more weight—much like what you see from Arial Bold or Impact.  The capitol “CON” and “MEN” are really packing the punch, but the masqueraded “S” is pulling its weight as well. Despite their rounded edges and soft lines, the letters in this piece are expressing a pointed message.

PLAY ON LETTERS - This New York political graffiti piece criticizes conservative government by playing up some letters and using symbols for others.

This cloud of judgment is hanging low over the Brooklyn Queens Expressway in New York City. Having attracted a lot of attention over the years, photos of the image are plastered all over Flickr, some of which date back to 2004 and others of which are as recent as 2011. That’s astonishing long for a piece of graffiti to remain untouched, especially in a city where the art runs rampant.

Evidently, no one has objected strongly enough to the art’s message to want to paint over it. The notion that conservative government is composed of a lot of lying con men whose primary concern is money is apparently well received in this neck of the woods. And while there may be some truth to the fiscally-conscious stereotype attributed to conservatives, the idea of republicans as a bunch of con men looking to dupe people over issues concerning money is obviously over-the-top.

But no matter the message, if nothing else, this piece is a great play on letters. It’s not often that they speak louder than words.

Infamy: A Graffiti Documentary

Aside from my passion for political art and propaganda, I have a keen interest in documentaries. Combine the two, and I’m in heaven.

Lately, my interest has been piqued by documentaries about graffiti, whether or not the art shown and discussed is politically themed. Because so many of the political art pieces I discuss are works of graffiti, I decided it makes sense to learn more about the art form itself.

Hence, last night: I watched the documentary Infamy, which catalogues the lives and minds of six of America’s most prolific and political graffiti artists. Viewers are introduced to the world of street legends Saber, Toomer, Jase, Claw, Earsnot, and Enem. Interesting characters—all of them. Saber’s designs are mathematically complex; Toomer is part of a graffiti gang; Jase has a fetish for slamming trains with graffiti in particular, but the fumes from countless paint cans are beginning to threaten his health; Claw is perhaps the only notorious girl graffiti artist; Earsnot is breaking stereotypes as a gay, African American graffiti artist in the hardened streets of the Bronx; and Enem is devising a revolutionary new graffiti style in Philadelphia.

With tell-all honesty, these artists reveal why they are so willing to risk everything to spray paint their cities with graffiti images. From the streets of the Bronx to a San Francisco tunnel, from high atop a Hollywood city billboard to the walls of Philadelphia, from the Mexican border to a Cleveland train yard, Infamy analyzes and glorifies graffiti through a simulated viewing experience.

EXPLORING GRAFFITI LEGENDS - Infamy, a documentary on six of the most legendary American graffiti artists, explores the reasons behind why writers risk it all to get their art on the street.

Adding depth to the documentary, the conflict between graffiti artists and local law enforcement is explored as both sides seek to answer the question: is graffiti art or crime? The audience also meets Joe “The Graffiti Guerrilla” Connolly, a notorious and well-known “buffer” who clearly views graffiti as the latter. With a vengeance matched only by the artists who produced them, Joe paints over graffiti murals and markings in his neighborhood, determined to keep the area free from vandalism. He even warns potential vandals to take their dealings elsewhere with a sign reading, “Graffiti no longer accepted here. Find a day job please!”

Watching the documentary, I had no idea that graffiti was such a territorial art. For an artist to be taken seriously, he must claim entire sections of a neighborhood by spraying and tagging his designs on every available surface—walls, buildings, lampposts, post office boxes, doors, road and traffic signs, etc. Furthermore, he must maintain his designs by repeatedly coming back and checking that no one has painted over them or drawn something on top of them—a major offense in the graffiti world.

While such offenses among artists competing for fame are common, offenses and run-ins with the law are almost just as frequent. Every one of the six legends has faced either criminal charges or repeated warnings from law enforcement. Yet, despite potential ramifications and repercussions, they all continue to create their art illegally, often sneaking out at all hours of the night or lying to cops outright in the middle of the day about permission to paint a particular area. When asked why they risk it, they all give different answers, ranging from “graffiti is like an addiction” to “the kids like it” to “it’s personal.” But my favorite answer was Toomer’s: “It’s like the people who carved Mount Rushmore. They wanted to leave a mark, and that’s all we’re doing. It’s the same thing.”

Just make sure you brush up on your graffiti vocabulary beforehand. For a relative graffiti novice like me, prior knowledge of the following lingo would have been most helpful:

Bomb: to paint many surfaces in an area.

Heavens: pieces that are painted in hard-to-reach places such as rooftops and freeway signs, thus making them hard to remove. Such pieces often pose dangerous challenges to execute, but may increase an artist’s notoriety.

Piece: a large and labor-intensive graffiti painting (short for masterpiece). They often incorporate 3-D effects, arrows, and many colors and are considered the full and most beautiful work of graffiti. A piece requires more time to paint than a throw-up. If placed in a difficult location and well executed it will earn the writer more respect (also called murals).

Racking: shoplifting or robbing, not limited to but including paint, markers, inks, caps, and clothes.

Tags: a stylized signature, normally done in one color. The simplest and most prevalent type of graffiti, a tag is often done in a color that contrasts sharply with its background. Tag can also be used as a verb meaning “to sign.” Writers often tag on or beside their pieces, following the practice of traditional artists who sign their artwork.

Throw-up: a throw-up or “throwie” sits between a tag and a piece in terms of complexity and time investment. It generally consists of a one-color outline and one layer of fill-color. Easy-to-paint bubble shapes often form the letters. A throw-up is designed for quick execution, to avoid attracting attention to the writer. Throw-ups are often utilized by writers who wish to achieve a large number of tags while competing with rival artists. Most artists have both a tag and a throw-up that are essentially fixed compared to pieces. This way, they have a recognizable logo for others to identify them and a mark that characterizes their own individual styles.

Writer: a graffiti artist.

The Propaganda Remix Project

“Propaganda is the use of magic by those who no longer believe against those who still do.” – WH Auden

And Micah Wright, an artist specializing in the remix of old propaganda posters, is a magic master.

Wright has created an ongoing poster project known as the Propaganda Remix Project, a satirical collection of old military propaganda posters repainted to feature modern anti-(fill-in-the-blank after the dash) messages.

After 9/11, Wright became interested in the work of WWI and WWII poster artists and the patriotic messages they extolled. While this interest contributed to his idea for the project, he didn’t officially begin the Remix project until after seeing posters from the Bush Administration which reused old Nazi propaganda imagery.

Wright has worked in videogames, film, television, animation, graphic novels, and comics. He has released three books of political commentary which also feature his graphic posters: You Back the Attack, We’ll Bomb Who We Want!; If You’re Not a Terrorist, Then Stop Asking Questions; and Surveillance Means Security!!

His work has been featured in the New York Times, The Progressive, the Boston Globe, the Washington Post, and on Fox News.

Below are some of his remixed and re-messaged posters.

Wright's line, “a message from the Ministry of Homeland Security," adds a laughable satirical touch.

OPINIONS ARE DANGEROUS - A poster urging citizens to keep quiet.

A typical anti-war poster of Wright's, this one protests spending for the War in Iraq.

Another anti-war poster makes a mockery of U.S. policy.

Another poster comments on soldiers' usage of their GI bills.

A World War era support-the-home-front poster remixed to reflect modernity.

To view more of Micah Wright’s remixed war posters, click here.

Propaganda Flourishes on Banknotes

In search of material for a post today, I came across the interesting tidbit that banknotes have historically been commonly used mediums on which to pass propaganda to the public.

In almost all propaganda battles whether political or revolutionary, leaflets in the form of banknotes were produced by both sides.

It makes sense, really. In the form of posters, page-sized flyers, or brochures, propaganda leaflets may be easily avoided by patriotic or frightened citizens of a target country. But why should anyone be wary of a banknote? It’s the perfect way to distribute insidious propaganda messages to unsuspecting passerby.

The Americans, British, Germans and Russians all used this technique in WWII. Half a decade later in the Korean War the United States once again prepared banknote leaflets. Although usually prepared by civilian organizations, these notes were almost certainly sponsored by a higher intelligence agency or branch of the government. The habit of using banknotes as propaganda leaflets especially increased during the Cold War, a time when there was no actual combat by arms. With a relatively low level risk for escalation, both sides were able to attack the philosophy and beliefs of the other without fear of retaliation by force. Propaganda is, after all, a mental game rather than a physical one.

Commonly called, “Political Banknotes,” there are hundreds of these types of notes across multiple countries (with messages in as many languages, of course). For the purpose of keeping things simple, I’ve found an American “Political Banknote” attacking former president Richard Nixon.

ONE FOR THE MONEY - Former president Richard Nixon was once targeted on a banknote issued as public propaganda. Responsible for the 'Inflated States of America,' he is blamed for the country's economic downturn.

In caricature form, Nixon resides in the center of a “frozen” two-dollar bill, making a peace sign with one hand and crossing his fingers with the other—probably in the hopes of escaping the Inflated States of America and returning to whatever State existed before “Phase Two Cash” was necessary.

Promotional TV Poster Undergoes Remix

You can’t get a much more straightforward message than this—a TV poster promoting the show Reaper modified to show Dick Cheney, George Bush, and Condoleezza Rice starring as “Satan’s Biggest Tools.”

Talk about harboring a grudge.

REAPING - A remixed television promotion poster for the show Reaper features Cheney, Bush, and Rice as its main characters in a satire of the Republican Party.

Both national parties undergo constant scrutiny, but in recent years, and especially in the 2012 election cycle, the Grand Old Party has taken some big hits. In a Gallup poll released just last Wednesday, a higher percentage of Americans reported having a more favorable view of the Democratic National Party than of the Republic National Party.

And, given the GOP’s recent struggles—inability to produce a quality, front-runner candidate who can hold his own, squabbles within the party, candidates’ personal attacks of opponents, and the entire party’s failure to unite unanimously behind any one candidate—it’s no wonder the boys in red are targeted by a wealth of angry citizens.

While the label “Satan’s Biggest Tools” is an obnoxious stretch, and unwarranted, it wouldn’t be surprising if the faces of Romney, Santorum, and Gingrich replaced these three soon.