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Josh MacPhee I grew up in the punk rock scene, and began making zines and t-shirts in high school in the late eighties and early nineties. Through the do-it-yourself ethos of the punk scene, and also by becoming politicised with the US invasion of Iraq in the early nineties, I turned towards making more political art. I became involved in the anarchist movement, particularly the creation of ‘infoshops’, which consisted of bookstores, libraries, meeting spaces, Food Not Bombs, and lo-fi community organising. I made posters and graphics for the anarchist community, as well as broader left activism around diverse issues such as prisoner’s rights, healthcare, anti-war, and global justice. In recent years I’ve become increasingly interested in the history of what I was doing and have worked on a number of projects unearthing and analysing politicised art production.
Alec Icky Dunn I have a similar background but also, when I was a teenager, I worked putting up posters for rock clubs, so I started making my own (political) posters to put up on my rounds of the city. It has been a sporadic but continuous pursuit since then. Art and politics started to get a little more focused when I lived in New Orleans in the late nineties. I was involved in some of the solidarity work around the ‘Angola 3’ political prisoners in the Louisiana State Penitentiary, and I also saw the first few ‘Celebrate People’s History’ posters, which Josh was curating and printing. I made one and sent it to him unsolicited, which he then printed, which was pretty exciting at the time! A few years later we ended up living together in Chicago and have collaborated on many projects since then.
I think one of the main things we have in common is we both come to political art not only as producers but also as fans. We are both very interested in the history of cultural work as it relates to political struggles and we’re both excited about its potential (both historically and currently) to add to social movements and movement-building.
Josh Over here in the States when you see any political graphics or artwork used at all, a lot of it is the same set of images, which have been used over and over again. But there is an incredibly rich amount of artwork and aesthetics that have been used in left/anti-authoritarian/liberation struggles all over the world, and I think we are in some ways hoping to expand the base of what people here think is possible.
It’s easy for a lot of political graphics to blend into our sensory landscape. For example, you see a poorly copied poster with a fist or a peace sign or an anarchy symbol and it’s an easy thing to ignore, because it’s boring! And often those uncreative, ineffective, posters are tied to uncreative and ineffective protests. Obviously, it’s not quite as simple as that, but I think we’re looking for ways that cultural work can help clarify political movements and work with them to feel more urgent or effective.
The US left has a fairly distinct tradition of graphics, but when we started discovering stuff from around the world, we saw many commonalities and a lot of cross-pollination. In 1968 you had the agitprop artists in Paris and the poster brigades of Mexico City both making really expressive, simple images to be put up on the street. We can see the influence of this work subsequently in the student movements in the late 1960s and early 1970s around the globe, later within the anarcho-punk scene in Europe, then also taken a step further with the silk-screening movement that worked in South African townships during the anti-apartheid struggle, and more recently during the financial meltdown and bottom up re-organisation in Argentina in the last decade.
This influence was not only aesthetic – strong, minimal, and often biting images – but also organisational. Artists were setting up ad hoc workshops so that people could make posters for things in a really immediate way. These are interesting models and examples of what can be done.
Alec We are also interested by things that haven’t had that type of cross-pollination, because there are really different graphic traditions all over the world. For example, I just saw a Japanese poster for a protest against the US military base in Okinawa – it was really vibrant and celebratory looking. It had very bright colours and a cartoony goose honking in one corner. This type of poster is almost unimaginable in the US and I’m not sure why. A friend of mine just came back from Tanzania and she brought some fabrics, once again very bright colours, and what you would think of as African style, but with political themes. The point is that we think there’s a lot to be gained from a more international perspective.
And finally, we think there is value is history and memory. For instance, we’ve been slowly accumulating images – posters, book and magazine covers, stamps, et cetera – from the CNT/FAI in Spain. They often have really amazing illustrations or type treatment. What’s interesting to me is that it’s a good example of what a broad-based working class movement looks like. These images were made by people in the movement, people who had a craft; they were working illustrators, typographers, and printers.
Josh As largely self-taught artists from the United States, it has been a life-long struggle to try to find and understand people making artwork akin to ours in other parts of the world and in other time periods. The US tends to be so myopic.
Signal is an opportunity to both reveal a rich and diverse historical (and contemporary) field of cultural action that is outside of our view and to share it with others. I feel strongly that this culture is something that should be held in common by all those struggling for equality and justice in the world, but is too often locked in the vaults of cultural institutions or the heads of individuals.
Josh We’re very ecumenical. As a visual artist, and in particular a maker of political graphics, that is what I’m most knowledgeable about, but I’m interested in a much wider range of cultural production. Social movements have successfully used everything from printmaking to song, theatre to mural painting, graffiti to sculpture. We’re open and curious about this entire range of expression and its implications for both art and politics. For future issues we are already collecting material related to comics, newspaper promotion, guerrilla print studios, photocopy art, pirate radio, architecture, billboard correction and postage stamps.
Josh There is very little politically engaged art writing today that doesn’t exist in rarefied academic or art-world discourses. Unfortunately most critical exchange excludes the vast majority of those who might be interested in the intersections of art and politics.
Alec We wanted to show as much of the work as possible! That’s really one of the big focuses of what we’re doing. And also it was partly about expediency. This was a first issue, and it was hard to solicit longer writing when people didn’t really know what we were about. We are hoping to have more writing – not just interviews, but ideas, criticism, and even (gasp!) theory.
Josh Our goal is to incorporate critical writing, but it is a challenge to find essays that are accessible, well-written, and insightful. So as we develop that writing, we have been excited to publish interviews with engaged cultural workers whose voices are rarely, if ever, heard.
Josh This is the background we come from, but we are not interested in narrowly focusing on cultural expressions that come from groups or moments that self-define as ‘anarchist’. I’m much more interested in exploring the breadth of left cultural expression, and trying to understand how social movements and cultural producers within them articulate their politics and goals, both to themselves and others. The field of politicised visual communication has largely been ceded to advertisers, but it is essential that engaged artists attempt to understand how their work operates in the world, and looking at a wide range of examples seems like a good place to start that process.
Alec I think it’s not quite a fair assessment. One of the five features was strictly anarchist (Rufus Segar), two had strong associations (about Red Rat and adventure playgrounds), and the other two didn’t identify as anarchist at all. I think you could say we’re pro-anarchist, but I don’t think it defines this project by any means.
Issue one of Signal, published by PM Press, is available from book retailers or online at www.pmpress.org
Nick Dowson looks at the new wave of co-ops and community groups where people are building their own truly affordable homes
Hsiao-Hung Pai meets people affected by the fire, and finds sadness and suffering mixed with a continuing wariness of the official investigations
Chris Williamson MP, winner of the election's tightest marginal, Derby North, and recently reappointed shadow minister for fire services, talks to Ashish Ghadiali about Jeremy Corbyn, the housing crisis and winning from the left
The Corbyn-supporting group is preparing for another election at any moment, writes Adam Peggs – and now has the potential to create powerful training initiatives, union links and party reform efforts
’We believe in you. We are with you. We will never forget.’ Grenfell solidarity sweeps East London in mass banner drops from housing estates
Michael Calderbank profiles Jeremy Corbyn's new supporters in parliament
The Democratic Republic of Congo (DRC) continues to witness devastating political violence, but the world refuses to act. Ishiaba Kasonga and Serge Egola Angbakodolo ask why?
When fire safety has become a privilege for the rich, it’s time to stop austerity and fund emergency mass works to raise standards immediately, writes Jane Shallice
The election result has irreversibly changed political discourse in the UK, writes James Fox
Anti-Corbyn groupthink and the media: how pundits called the election so wrong
Reporting based on the current consensus will always vastly underestimate the possibility of change, argues James Fox
Michael Cashman: Commander of the Blairite Empire
Lord Cashman, a candidate in Labour’s internal elections, claims to stand for Labour’s grassroots members. He is a phony, writes Cathy Cole
Contribute to Conter – the new cross-party platform linking Scottish socialists
Jonathan Rimmer, editor of Conter, says it’s time for a new non-sectarian space for Scottish anti-capitalists and invites you to take part
Editorial: Empire will eat itself
Ashish Ghadiali introduces the June/July issue of Red Pepper
Eddie Chambers: Black artists and the DIY aesthetic
Eddie Chambers, artist and art historian, speaks to Ashish Ghadiali about the cultural strategies that he, as founder of the Black Art Group, helped to define in the 1980s
Despite Erdogan, Turkey is still alive
With this year's referendum consolidating President Erdogan’s autocracy in Turkey, Nazim A argues that the way forward for democrats lies in a more radical approach
Red Pepper Race Section: open editorial meeting – 11 August in Leeds
The next open editorial meeting of the Red Pepper Race Section will take place between 3.30-5.30pm, Friday 11th August in Leeds.
Mogg-mentum? Thatcherite die-hard Jacob Rees-Mogg is no man of the people
Adam Peggs says Rees-Mogg is no joke – he is a living embodiment of Britain's repulsive ruling elite
Power to the renters: Turning the tide on our broken housing system
Heather Kennedy, from the Renters Power Project, argues it’s time to reject Thatcher’s dream of a 'property-owning democracy' and build renters' power instead
Your vote can help Corbyn supporters win these vital Labour Party positions
Left candidate Seema Chandwani speaks to Red Pepper ahead of ballot papers going out to all members for a crucial Labour committee
Join the Rolling Resistance to the frackers
Al Wilson invites you to take part in a month of anti-fracking action in Lancashire with Reclaim the Power
The Grenfell public inquiry must listen to the residents who have been ignored for so long
Councils handed housing over to obscure, unaccountable organisations, writes Anna Minton – now we must hear the voices they silenced
India: Modi’s ‘development model’ is built on violence and theft from the poorest
Development in India is at the expense of minorities and the poor, writes Gargi Battacharya
North Korea is just the start of potentially deadly tensions between the US and China
US-China relations have taken on a disturbing new dimension under Donald Trump, writes Dorothy Guerrero
The feminist army leading the fight against ISIS
Dilar Dirik salutes militant women-organised democracy in action in Rojava
France: The colonial republic
The roots of France’s ascendant racism lie as deep as the origins of the French republic itself, argues Yasser Louati
This is why it’s an important time to support Caroline Lucas
A vital voice of dissent in Parliament: Caroline Lucas explains why she is asking for your help
PLP committee elections: it seems like most Labour backbenchers still haven’t learned their lesson
Corbyn is riding high in the polls - so he can face down the secret malcontents among Labour MPs, writes Michael Calderbank
Going from a top BBC job to Tory spin chief should be banned – it’s that simple
This revolving door between the 'impartial' broadcaster and the Conservatives stinks, writes Louis Mendee – we need a different media
I read Gavin Barwell’s ‘marginal seat’ book and it was incredibly awkward
Gavin Barwell was mocked for writing a book called How to Win a Marginal Seat, then losing his. But what does the book itself reveal about Theresa May’s new top adviser? Matt Thompson reads it so you don’t have to
We can defeat this weak Tory government on the pay cap
With the government in chaos, this is our chance to lift the pay cap for everyone, writes Mark Serwotka, general secretary of public service workers’ union PCS
Corbyn supporters surge in Labour’s internal elections
A big rise in left nominations from constituency Labour parties suggests Corbynites are getting better organised, reports Michael Calderbank
Undercover policing – the need for a public inquiry for Scotland
Tilly Gifford, who exposed police efforts to recruit her as a paid informer, calls for the inquiry into undercover policing to extend to Scotland
Becoming a better ally: how to understand intersectionality
Intersectionality can provide the basis of our solidarity in this new age of empire, writes Peninah Wangari-Jones
The myth of the ‘white working class’ stops us seeing the working class as it really is
The right imagines a socially conservative working class while the left pines for the days of mass workplaces. Neither represent today's reality, argues Gargi Bhattacharyya
The government played the public for fools, and lost
The High Court has ruled that the government cannot veto local council investment decisions. This is a victory for local democracy and the BDS movement, and shows what can happen when we stand together, writes War on Want’s Ross Hemingway.
An ‘obscure’ party? I’m amazed at how little people in Britain know about the DUP
After the Tories' deal with the Democratic Unionists, Denis Burke asks why people in Britain weren't a bit more curious about Northern Ireland before now
The Tories’ deal with the DUP is outright bribery – but this government won’t last
Theresa May’s £1.5 billion bung to the DUP is the last nail in the coffin of the austerity myth, writes Louis Mendee
Brexit, Corbyn and beyond
Clarity of analysis can help the left avoid practical traps, argues Paul O'Connell
Paul Mason vs Progress: ‘Decide whether you want to be part of this party’ – full report
Broadcaster and Corbyn supporter Paul Mason tells the Blairites' annual conference some home truths