Those of you who follow me on Twitter know that last weekend I went to check out Shepard Fairey's "Supply and Demand" exhibit at the Institute for Contemporary Art in Boston, which opened on February 6th and runs through August 16th, 2009. Fairey's show was really interesting not only because I'd seen "Andre the Giant Has a Posse" and "Obey" graphics stenciled onto lampposts around the New York City area growing up, but because his work really makes you think about what we call "art," and why. His work also raises questions about the process of making art, and how to give credit to the people/work/movements that inspire you (although in the case of Fairey, the issue might be whether or not to give credit at all).

Fairey uses everything from newspaper clippings to stylized graphics to other people's work(!) to address potentially incendiary subjects like war, violence, and consumer culture. He's been creating street art for more than twenty years, but resurfaced again in the media recently for creating the Obama Hope image seen on t-shirts, posters, and even on Spike Lee. According to Fairey, in the video below, his work is based on the concept of "cross-pollination." While Fairey describes this as "getting people to think about things from a perspective that they hadn't before," I think it would be best defined as the idea that what you produce is informed by other cultural movements--social, artistic, or otherwise--as well as other people's ideas, and perspectives.

However, sometimes the fruits of cross-pollination can get you in trouble, which is what happened to Fairey last week, when the Associated Press threatened to sue him because the Obama Hope image he created is based on a photograph taken by an AP photographer. However, just yesterday, it was announced that Fairey will actually be beating the AP to the punch, and suing them first. What's happening with Fairey and the AP gives credence to the artist's detractors. It also bolsters claims from those who say that while Fairey draws liberally from other artists, he doesn't like it when they draw on his work. Case in point? When Austin graphic designer Baxter Orr borrowed from Fairey's work, he received a strange expression of gratitude: a cease and desist letter from a Fairey representative. So much for cross-pollination!

All in all, Fairey's exhibit was really thought-provoking. It made me think about the kind of art he creates, and about his beliefs and actions as an artist. But it left me with more questions than answers. While I'm still so curious why someone who believes in cross-pollination reacts so negatively to artists pursuing that very same goal, I know the show succeeded in some way by making me question everything.