T.I.P. MeetsA teen talk with Shepard FaireyHow hewent fromstreetartist toiconicsuperstarBy Milanes Morejon // Staff Writer▲ AFH photo by Mary NguyenFrom sneaking into back alleys to having hisartwork on display in various museums,it is safe to say that Shepard Fairey hascome a long way. Influenced by punk rockmusic, Fairey emerged from the skateboarding scene tobecome the well-known street artist responsible for theObama HOPE and PROGRESS posters.With anti-war messages and propaganda incorporatedinto most of his artwork, Fairey manages to use his ownlanguage and sense of style to express his own ideologyabout things. Widely known artists such as Tupac,Biggie, Flavor Flav, LL Cool J and Bob Marley are all partof the exceptional portrait collection that Fairey created.Although his record may not be as clean as the work heputs on display -- he has been charged with vandalismnumerous times -- Fairey credits his success to the peoplewho support him, “There is the old school that doesn’tlike what I’m doing, but there are a lot of younger peoplethat are inspired by it. That makes me happy and keepsme motivated,” says Fairey.Whether people consider his artwork as being strikinglyoffensive or particularly amusing, Fairey continuesto spread his collages, portraits and stenciled creationsall over the world. With over 200 of his works put on viewat the Institute of Contemporary Art (ICA) in Boston,Fairey appeared this summer at the museum and gavea group of Boston Public High School students – includingrepresentatives from T.i.P. -- the opportunity to asksome questions.How do you feel about people who think ofyou as a graffiti artist?I think that graffiti very literally translated is imagesand words on walls and other public spaces and I thinkthat it’s OK, you can call me that (ha-ha). I do that. Butgraffiti for some people…it’s going to have a negative connotationin that graffiti artists are anarchists who don’tcare about being a positive part of society, and I wouldtake issue with that definition in general. But, also veryspecifically for me, I do what I do as an artist to be a populist.I put my work in public spaces not to say ‘Screw you,I do what I want wherever I want,’ but to say that there isroom for more expression in public space than just advertising.We all as taxpayers own a little bit of the publicspace and should be able to have a voice in public space.It shouldn’t just be for corporations and the government.On average, how long does it take to makeone piece of artwork?Anywhere from a day to a month.When people insult your art, do you justbrush it off?Indifference is the enemy. When you have opinionsand you are willing to share them, you open yourself upfor criticism. And, of course, I want my messages to beunderstood and [for] people who might agree with me tosay ‘Hey right on!’ But there are always going to be peoplethat oppose it. A lot of the time it says more about thatperson than it does about me. I have to try to be honestwith myself and when someone makes a valid point I haveto try to just say, ‘You know, yeah, they called me out onsomething I was wrong about.’ But, also, when I feel likeI said something that I thought long and hard about andthat it is something I believe in firmly, I don’t questionmyself just because someone else disagrees with me.Twenty years ago, when you came up with thisAndre the Giant phenomenon, did you think youwould be standing here right now in front of allthese people?Definitely not! One of the things that I think I somehowwas able to do was being optimistic about what I couldaccomplish, but not have such high expectations that Iwould become depressed and give up if the things thatI wanted to do didn’t manifest to me. It’s been 20 yearsof very steady work, and a lot of times, I had self-doubt,and my dad told me I was wasting time with what I wasdoing. People have been like ‘Hey man, if the stuff thatyou’re doing made a difference, you don’t think it wouldyield its results already?’ A lot of people justify their complacencyby trying to bag on someone who is trying to dosomething, and all the time I just thought, ‘Don’t submit,don’t succumb to that mentality, and just stick with it.’Everything that I’ve experienced just reinforces the ideathat you have to stay hungry, you have to work hard, andyou have to try to be informed, but at the same time notsecond-guess your own judgment. Just do what you do theway you think it should be done, being as positive as possible.I am still going. People think I am going to retire now,but now I have a foot in the door; real work can start. ■14 / <strong>BOSTON</strong> <strong>TEENS</strong> <strong>IN</strong> PR<strong>IN</strong>T / <strong>SEPT</strong>/<strong>OCT</strong> <strong>2009</strong> / www.bostontip.com
T.I.P. MeetsAt ICA, teens learn new“slanguage” of freedomBy Natalyn Yu and Shanasia Bennett // Staff WritersThis summer, T.i.P. was lucky enough tospend time during Slanguage Week atthe Institute of Contemporary Art inSouth Boston. We worked with artistsin-residenceMario Ybarra Jr. and Karla Diaz, who arefrom Los Angeles and who are the creators of Slanguage,which, Diaz says, is a “hybrid of the words slang andanguage, which for us articulates an alternative wayf communicating.”An artist-in-residence comes to a new place specificallyo work on a project. “The focus of the residency was onhe process,” says Diaz. “It introduced students to basicollaborative skills that are used in other art forms suchs music, theater, and writing.”The purpose of the week was to explore Boston’sFreedom Trail, to use what we teens in the program foundto define “freedom,” and to make art to express our definitionsof that lofty concept.During Slanguage Week, we would do warm-up exercisesto wake ourselves up and get to know each other.We started with getting a feeling of just how much Bostonhas to offer by touring the different parts of the city. FromBoston Common all the way to the South End, the amountof rich history Boston has was almost unbelievable. Wewere able to explore the roots of the MBTA lines and theSouth End with mytown, a group of young people who conducttours in Boston.On these tours, we were split up into groups, whichincluded a historian, a photographer, and a sketcher.“What I enjoyed most was the hands on artwork we did,and making flags,” says Christian Hennessey, 16, aBoston participant in the program.In addition to making flags, we made our ownhistorical books, exquisite corpse drawings (a collectionof images and/or words collaboratively assembled) and“’zines” (magazines made out of collages).“Dress the way you think an artist would dress!”Ybarra jokingly advised us on the day before thebig opening.The ICA Art Lab was bustling with people on openingday, with a DJ playing in the back and people chattingexcitedly and surveying the art posted on the wall thatwe had worked on all week. Ybarra and Diaz wereglowing with happiness, reflecting SlanguageWeek’s success. ■▲ AFH photo by Shawn McLaughlinSlanguage = hybrid of the words slangand language, which for us articulates analternative way of communicating.– artist Karla Diazwww.bostontip.com / <strong>BOSTON</strong> <strong>TEENS</strong> <strong>IN</strong> PR<strong>IN</strong>T / <strong>SEPT</strong>/<strong>OCT</strong> <strong>2009</strong> / 15