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Obama, revolutionary hero, vs. Palin, nostalgic heroine

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Two graphic images have become prominent in the current presidential campaign. One depicts a candidate as a revolutionary populist hero. The other depicts a different candidate as a nostalgic populist heroine. The difference might be telling.

The poster of Sen. Barack Obama, designed independently by an enthusiastic supporter, L.A. graphic artist Shepard Fairey, is loosely modeled on one of the most famous graphic images of the last half-century: the 1960 portrait photograph by Alberto Korda of Ernesto ‘Che’ Guevara. Head tilted, eyes aloft, benign but determined expression on his handsome face, the portrait is printed high-contrast, to emphasize bold areas of dark and light, and screen-printed in patriotic red-white-and-blue. The word HOPE (and in some iterations I’ve seen, CHANGE or OBAMA) forms a sturdy pedestal on which the uplifting portrait bust stands.

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The poster of Gov. Sarah Palin, apparently designed by the McCain campaign, is lifted directly from another famous graphic image of the 20th century: a 1943 recruiting poster painted by J. Howard Miller, commissioned by the U.S. War Production Coordinating Committee to encourage women to enter the ranks of industrial workers, depleted as men were drafted or enlisted. Rosie the Riveter, a handmade portrait of an idealized Everywoman, rather than a camera picture of an actual historical figure, rolls up her sleeve and flexes her muscle in a masculine gesture. A photograph of the governor’s face is digitally inserted into the painting -- head tilted, eyes aloft, benign but determined expression on her pretty face. (Sound familiar? In the original painting, Rosie looks you in the eye, as if issuing a challenge.) The legend across the top is a speech bubble that declares, ‘We Can Do It!’

Both posters are being used in propaganda efforts for the respective candidates, and both have been adapted from well-known propaganda images of the past -- one from the Cold War, the other from World War II. The Obama portrait, which first turned up in 2007, is a visual species of hagiography that transforms a largely unknown individual into a forward-looking mythic figure. The Palin portrait, which emerged only in recent days, is a visual species of sentimentalized comfort food that transforms a largely unknown individual into a familiar figure from the collective national memory.

Each has a job do to, although the employer is different: Obama’s image was crafted by an independent citizen and became popular as a representation of a candidate; Palin’s image was created by her campaign, and its popularity remains to be determined.

Still, another difference between the two graphics might also be important: One portrait represents a symbolic depiction of the top of the ticket, the other does not. It’s hard to say exactly how this difference in rank will affect the propaganda function in each presidential campaign, but don’t expect John McCain or Joe Biden graphics to suddenly create a storm of interest. The art shows us who the political celebrities are.

-- Christopher Knight

Obama poster photo: Shepard Fairey; Palin poster photo: Carolyn Kaster / Associated Press

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