The Wake

It was with a hopeful air that I stepped into the Bell Auditorium one evening in January to view a documentary titled POPaganda: The Art and Subversion of Ron English. English, a visual artist who bears a striking resemblance to the late Jerry Garcia, gained notoriety during the ’80s with his infamous billboard debauchery. For example, he and his pals replaced the Apple “Think Different” ads—which featured pictures of notable different thinkers such as Amelia Earheart and Albert Einstein—with pictures of Adolph Hitler and Charles Manson while retaining the Apple emblem. If you’ve ever seen an obese Ronald McDonald displayed next to the interstate, that was likely the work of, or at least inspired by, English. The rogue artist also believes himself to have had a large hand in kicking Joe Camel to an early retirement; his numerous makeshift billboards depicting an infant camel with a cigarette in its hoof certainly attest to this claim. Not surprisingly, he has spent more than a few nights in jail because of his art, which the police define as “vandalism” and “criminal mischief.” English reportedly considers his work a success “if I don’t go to jail.”

The film detailed his career beginning with the individual projects mentioned above and then moving to his collaborations with groups and other artists such as Artfux and Shepard Fairey. Finally, following his move to a more legitimate creative outlet, the story is told of the success of English’s paintings in the New York City gallery scene.

In the documentary, he also speaks briefly of his high school days (“That show on TV now, ‘Jackass?’ We were doing that stuff in the ’70s.”)

The controversial and provocative work of the “Robin Hood of Madison Avenue,” as he has been called, naturally appeals to a writer at a publication such as The Wake. English’s self-proclaimed most controversial work was a billboard displaying the crucifixion and the words “Let’s Get Drunk and Kill God,” on a dare from his wife—while we as student journalists may not be quite as edgy as English, we do enjoy taking a few playful stabs at the administration, whether it be that of Bush or Bruiniks. In reflecting on the parallels between the early art of Ron English and the similarly irreverent attitude of The Wake, you may find yourself wondering if the student magazine’s fate will mirror that of English’s work in his switch to fine art. In short, is Wakie doomed to eventual maturity? Fortunately, I doubt it.