ee oe Ca FOREWORD BY TONY KUSHNER© 2005 BY ROCKPORT PUBLISHERS, INC. All rights reserved. No part of this hook may be reproduced in any form without written permission of the copyright owners. All images in this book have been reproduced with the knowledge and prior consent of the artists concerned, and no responsibility is accepted by producer, publisher, or printer for any infringement of copyright or other- wise, arising from the contents of this publi- cation. Every effort has been made to ensure that credits accurately comply with informa: tion supplied. First published in the United States of America by Rockport Publishers, a member of Quayside Publishing Group 33 Commercial Street Gloucester, Massachusetts 01930-5089 Telephone: ($78) 282-9590 Fax: (978) 283-2742 www.rockpub.com Library of Congress Cataloging-in-Publication available ISBN 1-59253-117-2 0987654321 Project Coordinator: Simona Barta Design: Mirko llié Corp., NY Library of Congress Prints and Photographs Division, 226 (third); 227 (bottom); 229 DEDICATION MARTIN LUTHER KING, JR.ONTENTS COMMUNISM -------- ee ee ee reer e eee eeee PALESTINE AND ISRAEL -------------+---> 12 EX-YUGOSLAVIA : +--+ eee e eee e eee eeee 26 IRAQ WAR -:- +50 |) oy) cs 12 EQUALITY 00): ) > ee es ANIMALS CORPORATE WORLD :--------++-eeeeee% 140 MEDIA: +--+ eee teeter etree tere cent ee eee 160 GUN CONTROL --- +--+ e eect eee e eee eeee 166 RELIGION +170 GOVERNMENT -- +--+ eee eee e cece cece eens 116 U.S. PRESIDENTIAL ELECTION ----------- 210 Foreword: TONY KUSHNER «++ +++ eeeeeeeeeeeeeeeees 220 MILTON GLASER Interviewed by STEVEN HELLER - Directory of Contributors +--+ +++ ++ +e reer reece cece 232 Acknowledgments +++ ++ +++eeeeeeeeee sees seen es 238LL Tees I S e , § to = aa s iH i RY aT) T RY |1 PCat hom POEL ns quoi, comment et pour qui SHO FEEL INDIFFERENGE.” See what we mean: RaMATEVER 1° TAKES OF LIFE™ TN chistes Solytionee erCHAPTER 2 1213 PALESTINE AND ISRAEL 25 th ANNIVERSARY OF THE PALESTINE NATIONAL LIBERATION MOVEMENT ,FATH” Revolution until Victory"It's sad whe and hard as it was killed aco Israel Defencé in reaction to tlTHI INTIFADA WELCOMES _ COMES) ICOGRADANake Wdcaes Madera) nos \hUale o1eUIgLONg ET TR ETE TeISRAEL PALESTINE 2002 [NW79 7RWwW"ISRAEL PALESTINE 2004 NW7a 7X"25 sucsme mowssac.CHAPTER 3 Aye)crsieroronser 2829 cevucosane evanBD cevucossaneNo TEETH.. A MUSTACHE. - : Siyel ile SHIT... TSOSMIAW GIR Face (UNPRO ‘Sr ) raft writen b an unkown utes on an amy tora Royal Natherands Ay woop. pat oe UN Proton Ftc (UNPROFOR)n Bos ‘rd Horzogovina 1082" 95, wor respons fr tein Sora sao ae Photogapy by Tak Soma33 cxyuoossann ent aaa mageSARAJEVO HUMORSARAJEVO 1993 BoneyFD cxvucossann Pa AYCe eedsso tte Urey ceri ush Ton Sn Bone sere ae inate ‘ori he in work tein decoy ee ‘Seed cin ae sl se ee pe[ HR-10000 ZagrebAT cxvucostasnnr 4BCHAPTER 4 5051 IRAQ WARsrsinorosssenr 52America, where have you gone? AND STARSEZZ3 AE a las eh Sorska rosso SA. Lier55 USA4 er inAKTHE BUSH PLAN FOR IRAQ =~ FIRST KILLINGDISSENT Protects Ia) A TE Tas Undermines ataa Wilts)iat ttyGT some non-suicide bomberGEORGE BUSH 04 |CHAPTERS 7273 PEACERUS SUES ULLAL RC TaL ee ans Pm ae Last Ce Tee Ue tell maT YEAR OF REMEMBRANCE AND ACTION ole er RO Tocorworossor 16i hate this game PENTAGON Bloody Red eeeMAKE UP, NOT WAR Se Nii \ ‘as es,PedceOrr EarthPlease postCHAPTER 6 8687 EQUALITYLAUNIUM WELCOMES 4 N. \ as COMRADE MANDELAHAPPY BIRTHDAY NELSON MANDELA Release Nelson Mandela risoners of South Africa and N ‘Aes pars Novant 13nd London ww cow our 706)+WAITING DREAMINGtodos los hombres somos iguales? 94 eo Se men —— se Patt tener Telomere alec ‘pe nm hope Sempawreiane ‘Ser comepr of criEE as scarrson eeARRERB sali dae@ =o CAUTION: CHILDREN AT WAR Abolish the use of child solders worldwide. Children have the right to be chidre & AMNESTY INTERNATIONAL Bren: ty = SH a, Bae peyaaes . STOP GUN)|ToRruRe’AND | @ AMNESTY} TRAFFICKING |= = |X) INTERNATIONAL!HIS “CRIME”: Day a a eats Den iT ov on TWNOILWNUALNI RENTFreedom from Discrimination.103 Everyone Has the Right to EducatIM | seine vt sents nd done ate ste | SESTSSacearred, feces hanya pence vc ee tint st they mus be ound 1-866-443-0106 LET THE TRUTH COME OUT107 ysape|éueq5OCTAL'SY5T3M PRINTED IN USAdt ret erigone acid Dal occu Serena eee tooTI DIRITTI E PAQIS JvAREZ Existenimas de\500 désaparecidas [al HAN ASESINADO'A 29 @ MUJERES lee £4 ere CR CME R Se Bete Rat ea CREW Gener,M13 coonurr STL Itis unlawful to remove any substance from this area without written permission from The Governmentcrsiroronser 114 NCJW’S VOICE: “THE VOICE OFTHE JEWISH COMMUNITY TIS IME To BRC THE POWER ANDTHE | VOICE OF THAT COMMUNITY TETHERM5 coon lepine 2 : 5 3 z fa > 3 g = 5 a 3 3 i 2 8 a a 3 5 RWT cone PRICE oF LIFETevossenr 120 2 ———— ——_— —_121 coun ‘aMNE =, BiaRy TENS SEW titoy ib ey made women’s rights mete ok good. Really good. me ucen eR yar sry Ce eg ‘Fest ra ene Do women have to be naked to get into the Met. Museum? Less than 5% of the artists in the Modern Art sections are women, but 85% ‘ of the nutes are female. A =123 coonDON I Rac De aa DR ee Da aoe De et eee Drea oe DE oe Don't crack dirty jokes. Das De eu coe Dee ccs pre-e a -a De ROCs Don't gor 126127 NEW PALTZ « NEW YORK « 2004 SUPPORT SAME-SEX MARRIAGE, MAYOR JASON WEST, Ca OA ee Oe Lag i Lost So, are you two Marriage and Family gonna get married? FAG Meeterone What You Need to KnowTea 014 Glory Condom Corporation penta trCHAPTER7 130 fy) Me AANA ite ea — SE _— si iiV ANNUAL ANNA id131 Foop PUSHING THE RIGHT BUTTONS _ = =nr 132,133 000TERS 134135° ANIMALS PIT hagEND FACTORY FARMING DON'T EAT MEAT Eno racrony Farming —von'r ear mear ‘usamom137 ex AO ee S a PAzi ZIvOT ' iM139 oucHapTeRS 140141 coRPORATE WORLD / ; if BU)nr 42 4 fl LOS Aone DEL MUNDO WUC Ome ace: Vere DO a One ae Ee) VE Deis143 coroorare wom =vsser 144 WAR IS GOOD a] ! THE BLUNT REALITY | OF WAR145. corsonare wort La 2 ro} 2VAT cororowsenr 148149 coroorare wont oLoRS lola ant be Y EZ ES -- frm Roman Cx, Benjamin ral 776 ‘Segre Rae Engraver Dil Berger,227 f \ tango on The ory ft Ran) ‘heb of polemen Sef he Haymarket ‘hag in wich poke enn or Iostrator akon, Heller: Under the umbrella of dissent, there is peace fal and violent dissent. Which is the most effective? Glaser: These choices are essen Sometimes g erful and works very well. One of the reasons it works is beeause the dissenters cannot be stigmatized s0 eas- ily by the official power. When the dissent is peaceful, it is more difficult to call demonstrators hoodhums, or communists, or even Ieft-wingers. Of course, Gandhi and Martin Luther King recognized that fact. Power stigmatizes those who dissent by calling them irre- sponsible and dangerous. Expressions of violence jus- tify violent responses by the established power. It's ‘one of the reasons why people who dissent have to be ‘thoughtful about the mode of dissent in order to accomplish their goals, ly situational. et dissent, oF non-violence, is very pow- Heller: Dissent tends to start small and build, whether it's ata grass-roots level or in an urban context, As you're describing it, peaceful dissent begets more peaceful dissent. But how does one induce others, through communications and design, to become part of a particular groundswell of dissent? Glaser: Generally, people respond to powerful imagery and words that contain an appeal (0 justice. Heller: 1s dissent, however, sometimes about fashion? @laser: As you recall, we had an evening where we discussed dissent [AIGA/New York’s “Hell No” ~ Spring 2003, and “Hell Yes" - Spring 2004], and one of the things I observed was how ineffective so much dissent is. ean be a way of positioning the self in some situations. Coolness is attached to being a dis- senter; the idea of opposing the existing culture is attractive toa lt of young people who want to over~ throw their parents or their history, or identify them- selves as being autonomous, whatever. In those cases dissent can be both personally satisfying and fashion- able, Sneaker manufacturers, among others, have taken great advantage of appearing to represent a counterculture. Can you imagine a sneaker being counterculture? Weller: Ever since the 1950s when teenagers were tar sgeted as a viable market, there have been attempts t0 persuade them through advertising (propaganda) to Duy into and from the respective manufacturers who ‘wane their dollars, which includes giving the con- sumer distinguishing characteristics, like the illusion ‘that they are rebels. But isn’t a fact that dissent usu- ally emerges from the youthful generation? Glaser: Of course, and certain products now use ‘the idea of the revolution symbolically in urging kids to define their character by buying a product. And that's one of the saddest expressions of dissent that fone could imagine. Heller: Throughout the twentieth century and into the twenty-first, there have been corporations, and the individuals who run them, who have exhibited lofty social and political conscfousnesses, and have con~ tributed to various causes, and even supported dissent toward government policies. How do you feel about advertising that’s ereated for a particular product, such as Benetton, Kenneth Cole, or Ben & Jerry's, that tuse their products as kind of soapboxes for dissent (and advocacy)? Do the waters get muddied there? Glaser: I think they do get muddied. In a democracy, there must be options within the culture for this kind of expression, But the truth of the matter is that itis the system itself that establishes the values of any cul ‘ure, Our system believes in materialism and affluence as the fundamental aspirations of society. Is also pos- sible for a democracy to become totalitarian. Witness what's going on right now, where the American people have been vietimized into thinking that the ruling class represents their interests, Both education and journal- ism have failed us inthis regard, Belief systems are self- generating. In a democracy, the mythology of democra- ce must be maintained. We cannot afford to feel that we are warlike, unfair, racist, or so on. But whenever those ‘manifestations occur we deflect them because we must believe our own historical mythology. When we see ‘industrialists giving money to good causes, it confirms four sense of democracy. Heller: But does it represent dissent, or does it repre- sent something else? Glaser: Very often, it represents an attempt to demonstrate a concern for “higher values." The oil and tobacco companies are constantly supporting artistic events. The Metropolitan Opera, the Whitney, the Metropolitan Muscum of Art are supported by the ‘most pernicious corporations. Do these powerful cor- porations really care about art? Heller: 1 think they come to care deeply about it because of the investment potential. They also care about it because it gives them a pedigree and throws them into a cultural surround that isnot simply dol- lars-and-cents and an exploitation of the working class, It gives them cultural credibility and euleural profit. Glaser: Perhaps it’s lke those patrons during the Renaissance who appear atthe bottom right and left of ‘many religious paintings. Of course, the love of Jesus ‘was, in fact, the defining characteristic of socal life inthat society. The defining characteristic today is how much money you have. Instead of buying another Rolls Royee, you can buy a Matisse, and that immediately ‘gives you some kind of status. Weller: But in terms of dissent, have you ever been involved with individuals who seem kind of like they're ‘going against their own self-interest by supporting the interest of righteous or controversial causes? Glaser: Ob, 1 don’tknow. I've met alot of nuts in dissenting conditions. 've meta lot of marvelous people. ‘The mix is not necessarily uniform, There's a difference ‘between righteousness and self-righteousness, but its very difficult sometimes to see where one lapses into the other. I think fundamentally, the people whom I know ‘who are dissenters have a sense of justice; they eare about the nature of society. Part ofthe characteristic of dissent when it’ at its best is fueled by empathy, and its fueled by the idea chat other people matter, and that if somebody is hurt or victimized, we are all hurt ‘or vietimized. Weller: since the "60s when the Situationalists in France began to critique commercial culture through art and design, dissenting groups have co-opted main- stream culture's commercial icons. Adbusters magazine isa good example of “culture jamming.” or obstructing the free low of commercial advertising by intercepting and altering their messages on billboards and other media, These are guerilla tactics designed to overtly and subliminaly interfere with business as usual. But in recent years the advertising industry has adopted ‘very similar guerilla methods (as though they stole @ page from the Adbusters manual), How does this now fit into the strategy of dissent? Does it neutralize one ‘of the tools in such a way as to make it more difficult to create effective propaganda for dissent? Glaser: There are many brilliant people in the ‘world of advertising who understand the power of co- ‘option. They have no sense of shame about these things. So any idea that sueceeds will be promptly stolen and used against you. Weller: Lot's discuss the art of ‘course, the topic of this book~: designer as a propagator of dissent, True dissenters are activists Is creating a poster, button, or ad campaign {k's certainly a form of activism. Should designers be more involved in this activism than others? For years, my response was that a designer’ role is not any different from that of any good etizen. From my point of view, good citizens are those who participate in democracy and who express their point of view, and cho realize they have a role to play in the life oftheir time. Being a designer doesn't suggest that you have any more responsibility. We all have the responsibility tobe good citizens, We ean either embrace that responsibility or withdraw from it, The passivity of ‘many Americans has endangered our democracy. Holler: The role ofa designer is clearly to be a good citizen, but how do you feel graphic design as a pro- fession ean influence or support dissent? Glaser: Graphic designers know how to communi- ‘cate, We've had experience that has trained us for @ role in the culture ‘One ofthe things evident in this book is that the ‘work of amateurs very often is as powerful as the work ‘of professionals. Our times are characterized by the erosion, if not the disappearance, of professional prac- tice in certain categories. Almost everyone is obsessed ‘with the idea of design and being a designer. Weller: So if an amateur can produce a visual message, ‘such as a poster, brochure, or billboard, chat will grab us by the lapels and make us think or act, then what does the professional designer bring to the party that the amateur eannot? Glaser: We are in the midst ofthis revolutionary ‘change, most profoundly expressed in the Internet, where the blogs now have become an expression of journalism, and where millions of people are now doing reporting, commentary, and editorials, and are beginning to have an effec that official journalism does not have In order to become a journalist, for instance, you have to passa series of tests. After you graduate from journalism school, you become a cub reporter, then you are moved up the seale to reporter, perhaps a colum- nist oF managing editor and, finally; the editor All ofthis process imbued you with the history and mythology of journalism as you went along. The same thing happens in design. You go to art school, you learn about form, you study typography, and you learn about color. Then, you learn about the history and continuity of art. After ‘school, you begin by working for somebody, doing low- level tasks, and finally ascending to where you're responsible for communicating something to others. Weller: There's a man who quietly stands in front of my office one day a week, for the past five years or more holding a poster he's made witha large photograph of a fetus, He wears i as a sandwich board, and itis very ‘hard to ignore that photograph with the headline “Save Life.” It's not a particularly clever slogan, but it’s a very potent anti-abortion message. He's grabbing some peo- ple by the lapels. What makes him less effective than the graphic designers who are in this book? 228 Sinplicsins Fein,229 ln oe Photographer, Warren KL 1963 Glaser: Who says he is? The real question is: What does it mean when the idea of professional practice is being dramatically eroded by a class of amateurs who ‘want to get into the game, and who, in many cases, are 4s convincing or as powerful as those who, theoretically, know what they're doing? Ie’ really a question about the nature of professional education. What does it train you for? Of course, among other things, professional practice in the United States also trains you tobe a ‘conformist, to listen to the existing res, to follow orders, and sel products. Education obviously reflects the existing societal values, Heller: Well, the majority of design professionals do not create art of dissent. But what we're talking about here is a means of combining images and words together, that forces people to move, to act, to respond in Some way. Are you saying we don’t need all that for~ ‘mal training to suecessfully make graphie dissent? Glaser: You have to be smart, and you have to know something about the nature of communication, either by instinct or by training, But of course, what you're suggesting has always been to me the reason for sup- porting the idea of an ethical practice: Ifthe practice is, infact, involved in communicating ideas, then you Ihave to be responsible for what you're communicating. Tan never separate the consequences of what we do from being in the world of communication, But it seems that, in some areas, people's instincts work ‘without training. Everybody has a screenplay in them, and everybody can do a poster, and everybody can ‘come up with a slogan. Some people are better at it than others. Sometimes, the people who are better ati are professionals, Other times, there are people who are totally untrained who seem to be gifted as ‘observers and commentators Heller: Certain posters have iconic resonance that had 10 do with the context in which they were produced. ‘One such, for example, which was definitely an ama~ tcurishly produced piece, isthe photographie image of dead women and children murdered by American GIs in the hamlet of My Lai, Vietnam, with the typewritten headline, Q: And Babies?.. A: And Babies! placed over the image in enlarged typewriter type. You could not ‘wash that poster out of the consciousness. I spoke to a moment. Ie did so with real pictorial evidence (like ‘Abu Ghraib three decades later), and it became an icon of anti-war resistance. In your experience, what were the one, ewo, or three most effective graphic campaigns that were either dissent or protest, underscoring a Glaser: So much ofits contextual: Where you ‘were, or where the poster was, what was happening, ‘who you were with. All of these experiences sbout looking at things have so much to do with other things besides the object. I remember on the day before the [Ethel and Julius] Rosenbergs were executed [for espi ‘onage in 1983], Twas living in Bologna, and allover the town were posters that were put up just with @ mug shot ofthe pair with a protesting phrase: “Don't kill the Rosenbergs." Bologna was always a town with left ‘wing associations and sympathies, The entire town ‘was plastered (it must have been done by the ‘Communist Party in Bologna) with this picture of two forlorn-looking people who were looking as ordinary and as pathetic as one could imagine. ! remember T ‘was overwhelmed, Overwhelmed with the idea that these two inconsequential-looking people, for whatever reason, were being executed in our country. The fact ‘that I was in Bologna, the banality ofthe picture itself, the fact that it appeared all over the town overnight, ‘made it the single most profoundly dissenting state- ‘ment I'd ever seen, Nonetheless, the examples we each cited have very litte to do with the design asthe graphie object. In fact you could say that a designer could have screwed up ‘those expressions by making them more self-con- sciously designed. What we were moved by was the poignancy of the event itself Holler: what is the purpose of printed dissent? Is the intention to appeal to people who already sympathize ‘with you? Or must it convert those who do not? ‘Whatever the goal, what are the best methods? Glaser: One has to be very thoughtful about examin- ing the effect ofthis imagery outside the fact that i's clever, well-done, powerful, and all the rest. Does it ‘work? Is iteffective? Are people transformed by it? Does it make them feel different about the subject after they experience it, or does it simply repel them and ‘make them avoid dealing with the subject? Even when 1m moved by some of the most powerful images, 1 finally have to ask: Can it produce the results itintends? Weller: 1 recall another “amateur” ant-Vietnam war poster “War Is Unhealthy for Children and Other Living. “Things” “designed” by Lorraine Schneider for the ‘Mothers’ Mobilization for Peace. Tt was very effective because the message was not violent and developed an empathetic response. Who couldnt see themselves holding, hanging, oF walking with that poster and slogan, (Gf you believed that the Vietnam War was indeed unhealthy)? But can a dissenter change popular opi ion through the use of shocking words or images? Glaser: wel, all ofthis comes under the general category of consciousness-raising. And sometimes hor- ror works, and sometimes it doesn’t, The characteristic of a shocking experience is often withdrawal. Very often, what is shocking is something you want never tosee again or never to think about again, So, you have to bbe very careful about this kind of violence to the sys- tem, On the other hand, some images, even shocking ‘ones, move you not through an empathetic response, but through a tribal one, Heller: The most effective propagandists always under- stand chat different “markets” require differing nuances, Is this true for the design of dissent? Glaser: Karl Rove [President Bush's political and public relations advisor] would say you do it one mar- ket ata time, Each market responds to something else. So, very often you can’t have something that isso gen erally attractive or compelling that everybody signs on, 0 you have to say, “Let's look a the 16-to-21-year-olds| and communicate there,” and then onto the middle aged people who have something more to lose, and so on. That's how you have to operate if you want to be in the marketing business. Heller: From what you've seen ofthe material collected in this book, do you feel that graphic designers are sophisticated enough to know how to approach these markets, or are the designers dealing with their emo- tions first and the rest comes later? Glaser: Both. You'll find things in the book that represent both emotional and logical responses. I found the work from Eastern Europe and Bosnia thoughtful about the response they wanted to get. ‘They were also identifying with a certain class of peo- ple they seem to know. It's easier to do that when you are part ofthe com- munity you're talking to as opposed to being at arms’ length of it. T suppose that the most compelling imagery comes out of people who are speaking to their own family—in effect, their brothers, their cousins, their aunts, their uncles~and have that sense that they are a participant in the situation. Heller: Even inthe best-edited collections of socially conscious designed artifacts I see many recurring clichés, The message may be heartfelt, but it comes off as banal because of all the clichés that are used Glaser: Stereotypes and clichés are the basic tool of communication, so you have to be careful about how ‘you use them, but you frequently find that they are the ‘most powerful instrument you have in reaching people. ‘You have to re-imagine them. But they are, ater all, things that are commonly known, and you are always dealing in the realm of what is already known. I guess ‘what you really mean is that if something is so ord nary and unsurprising in its observation, people simply ‘won't pay any attention to it Heller: 1¢ becomes wallpaper. Glaser: And that isthe other question of provoea- tion, How can you penetrate people's immunity is always the fundamental question of a designer's work. Weller: How can a designer improve upon the photo- ‘graphs that leaked out of Abu Ghraib? The TV news and Internet sites showed these horrors minute by minute, In fac, I believe there are so many images on the airwaves that t's hard to focus Glaser: Television is different from other things ‘Objects on television have no reality, regardless of what they are, Whether its a murder that’s being com: mitted before your eyes or a concert from Carnegie Hall, they have equivalent meaning, to some degree. ‘There's something profoundly different about the ‘experience of reading, where the mind is activated, or actually witnessing an event. Weller: What about the objects of dissent that you man- uufacture? How do you decide what medium to use and ‘what you feel will be the most effective for any partic- ular message? I'm referring specifically to the war in rag, which you have protested through your Nation magazine button campaign? Glaser: Campaign buttons are as primitive a form of ‘communication as one can imagine. But if you respect the person wearing them, you tend to respect the mes- ‘sage, The button intends to remind people of certain democratic ideals that are perhaps so self-evident that they become invisible. Sometimes, what is most obvi- ‘ous is very difficult to perceive. Weller: How many ways can a message be presented? ‘And how do you know you are making an impression? Glaser: The principal problem is the entry point into ‘the cultural bloodstream, When we ereated the eam- paign of Light Up The Sky during the 2004 presidential ‘lection, which oceurred when the Republiean National Convention was held in New York City, the basie idea ‘was to unge people not o gather in groups, but to go out lividually wearing oF holding lights. had originally wanted to post notices around the city, but there was no ‘way Icould do it without hiring an illegal sniper, who basically guarantees that he will keep your posters on ‘view in any area of town you want and prevent other people from posting over them. It’s totally ilegal and totally accepted. Unless you're willing to spend the ‘money that way, you can't even post posters yourself because they will either be ripped down or posted over. Heller: Or could you rent a billboard? 230 ‘ori Ungerer, 167 Ronald Topr 58231 No ore Wr! oe) Photrapher asbera 107 Soipigbiz Ge) Sey Jandel 1990 Glaser: We tried to buy a billboard during the cam- ‘paign. It was $100,000 for three weeks. So, you realize ‘that frequently dissent is sort of nominal dissent because ‘the ability to enter into the culture is very costly. Now of course, what you hope for is that these ideas wil travel, as they say, virally. That people will eatch on, and that the message will quickly circulate. The Internet provides this opportunity, and perhaps, the idea of posting printed, ‘objects has become less relevant. Holler: There are so many of these protest and advocacy 'messages that arrive in your email inbox or ean be accessed on various websites. There are so many dif. ferent ways of doing it, too: Flash illustration and ani- ‘mation, JPEGs, and PDFs, Some are engaging because ‘they are funny; others are poignant. Ate these having any greater effect than the single button that you wear ‘on your lapel or the poster that you do put up on the side of a building? Glaser: 11's very hard to tell what is effective and ‘what isnt. Certainly, when the Swift Boat guys got on the Internet to attack Democratic candidate John Kerry, they were enormously effective in getting those lies circulated. Then, of course, they knew how to have the media pick up and amplify those ideas. It was a ter- riffcally clever way of using both the Internet and con- ventional media to basically take a message out to an ‘enormous public. Political activist of an opposing point of view would hope to be equally clever as well, using some combination of buttons and Internet and posters and images and words, to spread the message Heller: Another reason to go back to that question of ‘who do we pay attention to? Glaser: The problem of the Internet is tremendous information and no judgment. o what I suppose you look for is people or personalities or work that has risen above the noise, and has convinced people ofits authenticity. In a democracy, you really need people ‘who rise above the general din and stand for something. Heller: Given the range of material in this book, do you feel that there are pieces that rise above the din? You ccan look at them individually and say they're striking, they're clever, or they're compassionate. But, are they all part ofa big wave that washes over us? Or is there something there that gives us hope that this can actu- ally work, that minds will be somehow altered by graphic dissent? Glaser: 1 chink it does happen. It may not happen the same way all the time. And it would be hard for me to select examples out of this group (I actually don’t ‘want todo it, because it would to some degree parochial-ize the others) But my belief is that it does ‘work, that it hasan effect, that the results cannot be ly traced, that the consequences of allthis material, like everything else in life, is mostly invisible. Actually, don’t think it makes any difference whether you think it works or not. You have to doit. I's necessary for dis- sent to be expressed. It has to be expressed because to protect democracy, i's the only hope we have. December 2004 ‘Steven Helle, at director ofthe New York Times Book Review and co-chair ofthe School of Visual Arts MFA Design Program, isthe author, co-author, or editor of more than ninety books on graph design and popula art, including Mers 70 igre and Beyond: Avant-Garde Magazine Design ofthe ‘Twentieth Centry (Phaidon Press), Pasi Rand (Phaidon Pres), and Design Literacy Second Bilton (Allworth Press). Hes also the co-author of rt Against War (Abbeville Press) and Angry Graphs (Gibs-Smith). He is the recipient ofthe 1999 AIGA Medal for Lifetime Achievement. He is currently coavrting Anatomy of Design with Minko Ifor Rockport Publishers, ‘which diagrams the roos and routes of contemporary works of ‘design and eyporaphy.vesiaoronsor 292 DIRECTORY OF CONTRIBUTORS A Maj Abbasi Dalene rehran S946, Serieapecom Rodney Abbot Bata sect Brooklyn, NY 15 ‘St Wiehe Roulerard Bevery Pls, CA 9021 Keene Ahmed Wesel oar uls ew ork, NY 10009 ‘Tehama Annie Esher 113 Golan Ales, Asan Set mistor 1000 Laine ovens Phrste 2301200 ‘New York, NY 10014 Ph: 212645.5633 ‘Gans 0 rey Piroa2122362205 2008 ToerationalBolevard ‘allan cA D400 Phesinsz2sa67 Nov Ovens LA 7015 Pheso4 9087683 Beehive Design Cllective Phoorassars7 srvnbechinecolctivong Nichols asian ee ‘icerboskerdesincom dram Boban Phoonasse302e roradcenboben com Sanjeev nothra Forde Proedom Partnership oral ables FLAS Phazetsson Mauro Bubbico ris Racin Zee beceapose ioe angeles CA 90041 rioeroo moiicint Phesnconoaises Mate Campbell Fest 20nd Sires, th Floor ow or NY 1010 forse eter tastaon New ton 10028 Christopher Cardinal ‘foncheccs Mig Pate ce aR New ork NY OO Presiassasoo “Trudy Cole-Zilanas Ghuce,Va3002 PeSiasceaaae Robbie ComalNiko Courteis Phsoas2eso00 sroneplamcom Dan covert Nineties Pheasstesoo srontnineaivent John Creson Bertley CAND he s107047500 sroneadecom Kimberly Grose ‘Another Poster or ence ath See ‘lames C4 94501 Phestos223610 Andrés Mario Ramines Cuevas TaMSine lem ‘vena Univers fot-A Phe sziss)aL077z46 Taes2(59.58874157 ‘wong com am Davidson fatrance Sete Matron nu proavay aN New ork, N¥10008 Phsiaseo3z20 ‘Nee de Coming ‘Yana Partner Desi Canaan {i2hine Walk, Cobham, Suey, United Kingdom dkconng@bteomect com “Thomas Deller Delacroix Stade utopia enuele tran France Delfin ‘Stato opie Benuele tran Tso1s Pre France Sharon DiGiacinto rar war Challe Sst Peovi z348 Phrexaaraasis Diplo Magazine {6188 Gran Road Tendon, WEIR SED. United Kington Nikola Djrek Tose Verio 3 abo 9210 Phronsasa9azi96e Eke Drosker Berkeley cA DUI. reine Debra Drovillo Ea huh ‘roo, ES Alice Dredg Scomonebracding 212 Greenwood Avenue {enkinnoun A oDHe be aissra07s Michae Duy Dalle 202 Beton Road Madi 155718 Phreos2490255 Alicea Mostafaradehs Eh Each 1 Galatia Aly ‘Ahlan Stet Vora Suet, fehramsio4aR Dennis Ege RD Ent oh Steet New ork NY 10009 Pedizaz00 x0 rads Sew York, NY 10012 Prbizoniosso mck Sana Cla CA 9380 Preaigaisoo9 srewemek net Oana rite, ars SKN Basal Bie bto0 Kala Lumpur Malla Phreoaamaesn SaaS, Sethe ono ne Rea Be Chis Cad Na ‘han s0060. ‘nba ey Phrsoai2236a708 Matthias Ermetbonger Be Wen ih eee, ‘New York NY 1001 Phe 2126471789 Atirereat Siri = foes oe es Mark Fox Mack Doe ‘oo Sumy Sloe Avenue ‘ealuma, CA4952 Pe vorreo9082 Gabriel Freeman nundo Fela/A Happy ‘Worl roduton Sam André 2nd 6 Shoot Ms ‘yer callowey Bas Wyoming sn Ken Garland inthe set nied ion | Phones ‘Tom Getemar {Chermaet&clsmar Ie {swe eth sce New Yorks NY 30010 Steff Geesbuler {hermes Geismar Ie {swe eth Se Lise ison ‘Seon Been 156 ing Tal Deve ietnen,e 06157 Phrawotgonse ln Givens Mion Glaser Dor Paes Set New York NY 3006 Phevaaao.i6 ‘elena Kyle Goon DO Wshinson Stet #257 ‘rontyn, NY 201 Fermin Gonales op Nehest Avenue #8 Phe 786.271.2700 Carole Goodson Sansom’ Design NODA Tenth Acne onlah i 86 Phe aOR 735.5662 len Gout fo Another Roster for eace ‘lames 494801 Phe si0s22.2640 Kevin Grady Ph: 978.318.9988 ‘romeo Copper Greene {80 Broaden 2nd Foor‘Grupo arte Caller Peiferla Revie 28 Baenoe ies (20) Phreuinioosses ‘ww arupopenrscomar Wieslaw Grzegorer Uttngitonetn 376 Phrwmcona73oas ‘Gueril Gies ne Sse LaGuardia ace 6237 New York NY 10012 sroeuerllgtccom ‘Anu Hadomerspahie Morbo Tg 2/4 ont end Hersogving Preumaotsaah ahi sie ‘ealabodt Avene ‘ehran ae Phroaais711000 Samia A Halaby ew York NY 10013 [Graegore Haiderck Tarrcwier 8/2 ‘amo Zabrre ian Phrimaoasea4o Pedram Hasby Scavandyar Entra Sect, Aa Avenue, ‘oddami Aven, Yank Pacha 3 DS Karerahe vemayme-a de ons Hickman Fone Hickman 23, Gareahaue hc en.9s.es0, ‘rofonshilmann cont Nancy Hoc MS Gror seat seer Tesla, cA D470 Ph: 510.708.7500 www addicom Joanne Hom ic Sesotsuet Feskelg, ca 94710 Phrsi07047500 Phitppe alee {aso orp Suche eg Phesaaroaraton Florde Penta Parinersip ‘Coral Gables, FLASIIG Phe 3054450100, Nov ors, NY 1016 Phy 2i24st.9737 ‘rorwminoiecom J Daniel sper niventy of Mineo wn S408 24h avenue South Mineapoi 55408 Phretarauaraa Frans detertlaraton Dai Broa #3KX NewYork, NY 0004 Ph 212.880.3720 Maley Johan Fale ohne Design horas fond et Minnapol M3 SS406 Ph: 612.722.8080 ori Ka heh 8 Doers arabe Phe worst sa0.070 wrrwsmrkade la Kamer Photepalsonoas” ‘isaac com Sunda Kapie aan Roms and Ware Phosemanoliaae ‘Rena Karanouh ‘kana baling Thonon Phcbet taro Mal Karlson Karisoneer Phestzo2s004 ‘worarlonletcom Ene Kasumagle Rewind Hertovina Kesler Des Group, Lad {831 Aigo Roa hes 4D 2004 Preto.so7aa38 artand Kirkpatrick Fler donee Phesiossiani6 ‘ronan ae Rede io 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"THINK AGAIN owls phesaaaasarss| wong one Patrick Thomas Stoo ae Page de Mastiver 25.27 ‘Phe 34933208104 ‘women com Seth Tobocman foRebocen Mi Phinwennosse Jennifer Tole ‘Sto towed Seer ou Preaisseosae ‘wwechengdesincom ‘Toni Toma Mlamee jeer 12 ‘Marr 2000 Slovenn Phrdeen2asosso sowmediamics| ‘Trio Sarjevo Beniios forse ‘ona and Rersegvina Peawranamoos ‘Tom Ungerer Albino Ursté odarjons 10000 Zagreb ‘YarooaVarindon ‘arom Vardi Design Silom Hamel Sct agate tena Praraasnore sa Yoost Veerkanp {foorange luce Desn ‘et Revs ond Daan 100 South Aen Pravaiamnsco Sal isso Stu ipo Okkonen Oy Raatenlan Ie Dot Frsn}00 Dela Prataaor222264 Jugosty Vahovie Marla Birjuzoen 27 ‘ao Belgrade Jelena Vane FAN Trernscona Grbicka ‘wo faainteraioa.com ein Wade Planet Propaganda (05 Wilts tee SMadion, Wi st70s Ph: 608.256.000 Hon ing Wak nics Espo Galleria "Hong Kong Contention & xhbien Come te Wahler Gruppe 0 ochre 33 Germany semua de arth Walker range ce Dsien ‘orerea Road Duran 401 Sout abon Pearaiamnaso Ginny warren Phreraaceaioa Ulrich Wei cate 43 Dans Kern swwemagma ade crete Whitney Cloner Kuper SEs Weed St ten Sumancha Witson fo Rebecca Mga Sates Place 28 Usa Ewa Wostowsla {UL Sma 1238/9 Boog 40300. Pred Y “nates Seles Hi Madan Steet, ‘Alameda, G4 94501 Phsioasz9sn, sewrstseorscom ‘tadanor Yokoo Sa DSc Seopa Tulse sre Japan hal sagsa2ea6 Donel Yop ove Set ew vor, NY ote Ph: 2126961268 Shih Yang ‘Adit Meta Fundason iba Wer nh treme Canad 4 Pheeo47369401 1 Matsa. ave rae 1290 na Svea aya itt ike saltbuy LLC Phe 310.392.8779 Pe M0294ACKNOWLEDGMENTS JESS] ARRINGTON » AMY AXLER SIMONA BARTA » DANA BARTELT AMIR BERBIC + TERENCE BROWN ASJA DUPANOVIC + EKREM DUPANOVIC STEVEN HELLER + ALEXANDRA KANE CEDOMIR KOSTOVIC + DEJAN KRSIC JEE-EUN LEE « MARIJA MILJKOVIC DAOUD SARHANDI + ARABA SIMPSON STAFF OF TIPOGRAFICA MAGAZINE SCHOOL OF VISUAL ARTS » GARTH WALKER LAETITIA WOLFF * HELEN WU