Agitprop and Orwell: Shepard Fairey’s subversion of Soviet artwork and George Orwell’s 1984.

Words by Amelia Erswell

‘Agitprop’ is a term that refers to political propaganda, typically with a Communist credo in mind. An abbreviated name for the Department for Agitation and Propaganda, ‘Agitprop’ was a branch of the Communist Party committees, established in 1920 Soviet Russia. Its work was intended to be politically subversive, a form of visual propaganda.  Its use is most commonly observed in artwork or literature. One example of its reappropriation in popular culture is within George Orwell’s 1984. In the dystopian society of Oceania, The Ministry of Truth (likely modelled on the Soviet Agit-Prop Department) is an intelligence service within the government. They hold monolithic hegemony over all divisive forms of propaganda: broadcasts, newspaper articles and most importantly visual culture. John Berger, in his anthology of essays The Ways of Seeing attests that images hold authoritative power, they implore their audience to intuitively reflect upon their surroundings. To internalise the motifs within images. To establish a relationship between themselves and the artwork. 

Within Soviet Russia, Agitprop took on a variety of forms. Alongside poster campaigns, images would be plastered onto trains and cars for all to see. Its use imitates modern methods of advertising and extended into literature, infiltrating books and libraries. A form of censorship, in alignment with their manifesto, the Soviet party would construe favourable information via novels. Their use of images mobilised the public: encouraging female subordination (in response to fascism), addressing conscription, exploring patriotism and expressing the perceived “successes” of Communism. It was even used to address Cold War rivalries, such as the arms and space race, respectively. 

Agitprop poster from WWII

In this example (above), we observe a WWII Agitprop poster. The inscription reads: ‘Will give everything for the front!’. Unbridled obedience and extreme patriotism are expressed through the central figure. Walking forwards with a large missile in his hands, use of foreshortening makes the bomb protrude towards the audience. It points directly at them, accusingly; as if the figure wants them to take it off his hands. To pick up the collective burden of ensuring the success of Communism. The procession of tanks and planes, dominate the land and sky. The man’s undying loyalty and dedication parallels the image’s text: ‘will give everything!’. An exclamative, it highlights his sense of duty and purpose, transferring this onto the audience. Whilst I only discuss one specific image, it is a testament to the purpose and methods used within visual culture in the Soviet Union. The Communist Party successfully stipulate subordination, through image. 

‘Obey Fist’ (2019)

‘Obey Hammer’ (2019)

Turning to America today, we see a similar kind of imagery and style conveyed within Shepard Fairey’s work. Whilst his artwork uses a graphic style and similar compositions to contemporary Soviet Agit-prop, his prints are politically subversive. Actively recognising the political reception of his work, Fairey’s website states that he has been ‘manufacturing quality dissent since 1989’.  His ‘OBEY’ campaign particularly works against the indoctrination of the audience. In his 1990 ‘Manifesto’, he explains that the campaign originated with mass production of OBEY stickers. It was an experiment in Phenomenology, an attempt to reawaken connection between people and their environment. Perversely, and rather frustratingly, Fairey’s campaign is an Art student’s worst nightmare. He declares that ‘OBEY has not actual meaning’. It is intended to ‘reflect [one’s] personality and [the] nature of their sensibilities’. It holds up a mirror, in which we see our own reflection. In a society where we privileged ourselves upon technological progression and freedom, Fairey highlights that we must begin to question whether “good” can be distinguished from policy and societal values. Since 1990, Fairey has built upon the foundations of his OBEY campaign, producing graphic images and prints which look exceptionally akin to Soviet Agit-prop pieces. They use similar themes, colour schemes and compositions. For example, the use of the clenched fist and star in ‘Obey Fist’ (2019) and hammer in ‘Obey Hammer’ (2019). However, whilst ‘Obey Hammer’ presents an image of strength, Fairey subverts the purpose of Soviet Agitprop. Instead, the banner reads ‘Worldwide Propaganda’ and highlights that the image is overtly political. ‘Seven Feet, Four Inches, Five Hundred Twenty Two Pounds’ refers to Shepard Fairey himself. It is perhaps, his fist which holds the hammer telling us to ‘OBEY!’. To obey his declaration that image is a form of ‘worldwide propaganda’. He exposes the role of Agitprop. He encourages us to question the authority we attribute to images. 

‘Big Brother is Watching You’ (2019)

‘Obey Conformity Factory (Red)’ (2019)

In ‘Big Brother Is Watching You’ (2019) and ‘Obey Conformity Factory (Red)’ (2019) he uses Orwellian motifs echoing themes of supremacy, hierarchy and influence. Through reference to the famous line from 1984, ‘Big Brother is watching you’, he notes the omnipotent presence of surveillance in American society. Orwellian dystopia parallels modern society. Cautioning his audience, he encourages them to recall the fate of Winston Smith: tortured, indoctrinated and re-educated, his dissent is short lived. Fairey wants his audience to maintain their inquisitive and rebellious nature. To rebel against indoctrination. Likewise, in ‘Conformity Factory’, Fairey perhaps alludes to Winston’s place of work: The Ministry of Truth. His job consists of rewriting historical records to conform to the state’s narrative; an element which Fairey picks up on. The text in ‘Conformity Factory’ states that: ‘it is merely a process of fully embracing the sublimes forces of obedience and control that present themselves to you daily as the status quo […]’. The ‘process’, to which is refers, is how American society is influenced and structured. The news they hear, the images they see. He actively encourages his audience to question the blind ‘obedience and control’ of conformity. Indeed, ‘Functioning hypnosis through routine is the most noble state of semi-conscious being. OBEY, CONSUME, REPEAT…’. The dictatorial instructions, outlined within ‘Conformity Factory’, directly engage with Soviet Agitprop artwork. They encourage us to question forms of propaganda, subliminal doctrination and societal conventions. 

‘Obey Conformity Trance (Red)’ (2021)

The legacy of Agitprop lives on in popular culture through Orwell and Fairey’s respective work. Both writer and artist, alike, allude to the detrimental effects that the blind belief in politics can have. They voice concerns about the power behind combining the written word with visual culture. Unless we recognise potential ulterior motives, we will perpetually live in a state of ‘functioning hypnosis’. Unable to wake up, we will be destined to OBEY, CONSUME, REPEAT. As he declares, in his new piece of artwork ‘Obey Conformity Trance (Red)’ (2021), we must ‘Awake from the trance of conformity’.