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Shepard Fairey’s 2017 “We the People” posters shifted the focus of his political imagery from a presidential candidate to ordinary people. Where his 2008 “Hope” poster presented Barack Obama as a figure onto whom viewers could project future aspirations, the later campaign pictured people in the present and made belonging its message. That contrast is Peter Buwert’s interpretation of the work, not a measure of how audiences responded.
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From a presidential portrait to portraits of the public
Fairey’s 2008 “Hope” poster made Obama its central subject. Buwert describes Obama as looking upward into the distance: an idealized, future-facing image that invited viewers to attach their own hopes to a political leader. Fairey later assessed that promise more critically. In a 2015 interview quoted by Buwert, he said: “Not even close … Obama has had a really tough time, but there have been a lot of things that he’s compromised on that I never would have expected.”
The “We the People” campaign, launched around Donald Trump’s 2017 inauguration, changed both subject and emphasis. Rather than depict Trump, its images centered members of the public, including people whom campaigners feared could be excluded. Buwert contrasts the posters’ direct or downward gazes with Obama’s upward look. In his reading, these portraits direct attention toward people and present realities rather than a leader’s promise of a better future. Buwert’s account of the campaign was published by The Conversation on January 20, 2017, and republished by Scroll.in.
What the “We the People” posters showed
Fairey created three posters for the campaign. One portrayed a Muslim woman wearing a hijab patterned with the US flag, above the words “We the People are greater than fear.” Another showed a dreadlocked African-American boy. Ernesto Yerena and Jessica Sabogal also contributed images to the broader campaign.
The portraits did not present their subjects as distant symbols of a political leader’s future achievement. Instead, the campaign’s language and imagery emphasized people’s place in the country now. The title “We the People” invokes collective belonging; the line about being greater than fear makes that claim explicit. This is a rhetorical shift from an idealized promise projected onto a candidate to an appeal centered on shared values and inclusion.
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How the campaign was meant to reach people
Buwert’s January 2017 article described several planned ways to circulate the work:
- Print posters as full-page advertisements in The Washington Post.
- Distribute placards at the inauguration.
- Send postcards to the incoming president.
These were plans reported at the time. Buwert’s article does not establish which of the intended uses ultimately took place, so they should not be treated as a record of completed distribution.
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- Print title: Make Art Not War, Artist: Shepard Fairey
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What the fundraising figure does—and does not—show
The Conversation article republished by Scroll.in reported that the “We the People” Kickstarter campaign raised $1.4 million in a week. That is a figure reported in 2017, not a current fundraising total; Buwert’s account does not independently verify it against Kickstarter records.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.Fairey’s idea of an antidote
Buwert’s account attributes this statement to Fairey: “We have Trump, so what’s the antidote? The antidote is not attacking Trump more.” The passage does not identify the original interview venue. Read alongside the campaign’s portraits and slogan, the remark points to a strategy of answering political conflict by asserting the value and presence of the people the campaign sought to represent, rather than making the opposing politician the subject of every image.
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Buwert concludes that the posters “offer new hope for the role and relevance of political art in Trump’s America.” That is his interpretation of the campaign’s significance, not evidence that the posters changed public opinion. His analysis rests on the visual and rhetorical choices: who is pictured, where the viewer’s attention is directed, and whether the message asks the audience to invest in a leader’s future promise or recognize people’s belonging in the present.
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