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
Grassroots posters giving an alternative take on the general election
Hundreds of people surrounded the fences this weekend. Hera Lorandos spoke to women who have suffered inside.
Laying out the case for Labour's leadership of a Progressive Alliance, Jeremy Gilbert argues that far from posing a threat to the Left, the Progressive Alliance offers a golden opportunity to end Tory rule and build a 21st century government committed to social justice
The Greens have stood down in Brighton Kemptown to clear the way for Labour, and the Lib Dems won’t stand in Brighton’s other seat, Green-held Pavilion. Davy Jones, who would have been the Green candidate in Kemptown, says this shows the way forward
The snap general election represents a unique opportunity to defeat this terrible government. We believe that visual artists have a crucial role to play!
Drax is the UK's biggest source of CO2 emissions – and we're paying for it, writes Almuth Ernsting
For the past 3 years, Barby Asante and members of London-based artists' collective, sorryyoufeeluncomfortable, have been responding directly to the vision of James Baldwin. Ahead of the nationwide release of a new film about the American activist and author, they reflect on the enduring relevance of Baldwin in Britain today.
Housing campaigners' gains in Bristol are spurring on a national movement to build a renters' union, writes Stuart Melvin
A new Espionage Act threatens whistleblowers and journalists, writes Sarah Kavanagh
We need an anti-austerity alliance, not a vaguely progressive alliance, argues Michael Calderbank
Civic strike paralyses Colombia’s principle pacific port
An alliance of community organisations are fighting ’to live with dignity’ in the face of military repression. Patrick Kane and Seb Ordoñez report.
Greece’s heavy load
While the UK left is divided over how to respond to Brexit, the people of Greece continue to groan under the burden of EU-backed austerity. Jane Shallice reports
On the narcissism of small differences
In an interview with the TNI's Nick Buxton, social scientist and activist Susan George reflects on the French Presidential Elections.
Why Corbyn’s ‘unpopularity’ is exaggerated: Polls show he’s more popular than most other parties’ leaders – and on the up
Headlines about Jeremy Corbyn’s poor approval ratings in polls don’t tell the whole story, writes Alex Nunns
The media wants to demoralise Corbyn’s supporters – don’t let them succeed
Michael Calderbank looks at the results of yesterday's local elections
In light of Dunkirk: What have we learned from the (lack of) response in Calais?
Amy Corcoran and Sam Walton ask who helps refugees when it matters – and who stands on the sidelines
Osborne’s first day at work – activists to pulp Evening Standards for renewable energy
This isn’t just a stunt. A new worker’s cooperative is set to employ people on a real living wage in a recycling scheme that is heavily trolling George Osborne. Jenny Nelson writes
Red Pepper’s race section: open editorial meeting 24 May
On May 24th, we’ll be holding the third of Red Pepper’s Race Section Open Editorial Meetings.
Our activism will be intersectional, or it will be bullshit…
Reflecting on a year in the environmental and anti-racist movements, Plane Stupid activist, Ali Tamlit, calls for a renewed focus on the dangers of power and privilege and the means to overcome them.
West Yorkshire calls for devolution of politics
When communities feel that power is exercised by a remote elite, anger and alienation will grow. But genuine regional democracy offers a positive alternative, argue the Same Skies Collective
How to resist the exploitation of digital gig workers
For the first time in history, we have a mass migration of labour without an actual migration of workers. Mark Graham and Alex Wood explore the consequences
The Digital Liberties cross-party campaign
Access to the internet should be considered as vital as access to power and water writes Sophia Drakopoulou
#AndABlackWomanAtThat – part III: a discussion of power and privilege
In the final article of a three-part series, Sheri Carr gives a few pointers on how to be a good ally
Event: Take Back Control Croydon
Ken Loach, Dawn Foster & Soweto Kinch to speak in Croydon at the first event of a UK-wide series organised by The World Transformed and local activists
Red Pepper’s race section: open editorial meeting 19 April
On April 19th, we’ll be holding the second of Red Pepper’s Race Section Open Editorial Meetings.
Changing our attitude to Climate Change
Paul Allen of the Centre for Alternative Technology spells out what we need to do to break through the inaction over climate change
Introducing Trump’s Inner Circle
Donald Trump’s key allies are as alarming as the man himself
#AndABlackWomanAtThat – part II: a discussion of power and privilege
In the second article of a three-part series, Sheri Carr reflects on the silencing of black women and the flaws in safe spaces
Joint statement on George Osborne’s appointment to the Evening Standard
'We have come together to denounce this brazen conflict of interest and to champion the growing need for independent, truthful and representative media'
Paul O’Connell and Michael Calderbank consider the conditions that led to the Brexit vote, and how the left in Britain should respond
On the right side of history: an interview with Mijente
Marienna Pope-Weidemann speaks to Reyna Wences, co-founder of Mijente, a radical Latinx and Chincanx organising network
Disrupting the City of London Corporation elections
The City of London Corporation is one of the most secretive and least understood institutions in the world, writes Luke Walter
#AndABlackWomanAtThat: a discussion of power and privilege
In the first article of a three-part series, Sheri Carr reflects on the oppression of her early life and how we must fight it, even in our own movement
Corbyn understands the needs of our communities
Ian Hodson reflects on the Copeland by-election and explains why Corbyn has the full support of The Bakers Food and Allied Workers Union
Red Pepper’s race section: open editorial meeting 15 March
On 15 March, we’ll be holding the first of Red Pepper’s Race Section open editorial meetings.
Social Workers Without Borders
Jenny Nelson speaks to Lauren Wroe about a group combining activism and social work with refugees
Growing up married
Laura Nicholson interviews Dr Eylem Atakav about her new film, Growing Up Married, which tells the stories of Turkey’s child brides
The Migrant Connections Festival: solidarity needs meaningful relationships
On March 4 & 5 Bethnal Green will host a migrant-led festival fostering community and solidarity for people of all backgrounds, writes Sohail Jannesari
Reclaiming Holloway Homes
The government is closing old, inner-city jails. Rebecca Roberts looks at what happens next
Intensification of state violence in the Kurdish provinces of Turkey
Oppression increases in the run up to Turkey’s constitutional referendum, writes Mehmet Ugur from Academics for Peace