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Design can influence public perception, but great design can change it. From campaign designs to protest symbols, ‘Hope to Nope: Graphics and Politics 2008-2018’ explores the impact of graphic design in political and social movements over the last ten years.
There are three distinct sections in the exhibition – power, protest and personality – which explore how design is used in politics to change public perceptions. It starts off with the Obama campaign’s unofficial, but hugely popular, ‘Hope’ poster by Shepard Fairey, which is later compared to the failings in the design of the Remain campaign’s materials.
Social media is also explored as a platform that’s taking political movements to unprecedented audiences. Designs, symbols and hashtags like #MeToo can gain momentum quickly and designers from varied social and cultural backgrounds are capitalising on this. From the raised fist, a symbol of hope and courage used in the Black Lives Matter campaign, to the ‘Gay Clown Putin’ poster, an image of defiance used in protest against the Russian government’s crackdown on LGBT+ propaganda, these symbols manage to express so much more than words: they are the embodiment of protest. And if you don’t think using a rubber duck as a protest symbol against government corruption could ever gain momentum, well, you don’t live in São Paulo.
Popular culture and humour in design are also important, with numerous takes on political leaders through satire, parody and cartoons seen throughout the show. There’s everything from Corbyn dabbing to a particularly entertaining Trump misfortune-telling machine.
From hope to its antithesis nope, this exhibition highlights how powerful design can be in shaping politics, protests and public opinion. There are tons of images but it lacks a moment where you have overall clarity about the future of design meeting politics. But maybe that’s the point – it’s crazy and overwhelming. Let’s hope design’s ability to communicate will influence more positive change and less viral quacking.