Hope to Nope: Graphics and Politics 2008-18
This has been a politically volatile decade, ushered by the 2008 global financial crash, spread with such speed and steered in the most unpredictable of directions thanks in part to social media. A decade ago, who would have imagined the way new media has completely alter how we view news, see image and digest information. It is incredible to think that this was a novel idea back then, yet now traditional media, journalists and broadcasters, work alongside influencers, hashtags and memes. New media has completely altered how graphic political messages are made and distributed, and the power of graphic design has arguably never been greater.
Hope to Nope: Graphics and Politics 2008-18 (27 March – 12 August 2018) explores the power of graphic design to make political statements and instigate change. Alongside traditional posters and banners, the latest exhibition to open at the Design Museum in London charts the rise of digital media and social networking to give graphic iconography a wider reach than ever before.
The basement exhibition space here, the lack of windows and natural light, adds to the feeling of being cocooned in the bubbling politics of this decade. We witness the global financial crash, enter the Arab Spring, observe Barak Obama’s vibrant presidency, sit alongside demonstrators in the Occupy movement and Deepwater Horizon oil spill, mourn the Charlie Hebdo attack and enter more recent concerns namely Brexit and the Trump presidency. We particularly enjoyed one wall dedicated entirely to Donald Trump, his trademark features caricatured across the covers of more than 50 international magazine covers – including The Economist, TIME, Der Spiegel, The New Yorker.
Hope to Nope is split into the categories power, protest and personality with a large graphic timeline dissecting the gallery space to chart the role of Facebook and Twitter in global events of the last decade. Power explores how graphic design is used by the establishment to assert national and political authority, and how that iconography can be subverted by activists and opponents. Protest displays graphic design by activists and demonstrators. While Personality examines the graphic representation of leading political figures. For instance, grassroots support for Jeremy Corbyn is typified by an unofficial Nike t-shirt and an independently published comic book that portrays the Labour Party leader as a superhero.
At Spinach we work with graphic design, with image, illustration and with words to help create brands and strengthen brand messaging. The Design Museum exhibition is an exciting snapshot of the power of graphic design – at times instigating change and always documenting and illustrating the energy, hope and disappointments of the last decade.