A logo is a sacred thing in business. Consumers use them to identify trusted companies that make dependable products. When most of us see Adidas’s stripes or Hyundai’s slanted H, we think of quality. Not slave labor.
But Adidas and Hyundai — as well as Coca Cola, Visa, McDonald’s, Budweiser, and others — are all “proud sponsors” of FIFA. In 2010, the corrupt organization awarded the bid for the 2022 World Cup to Qatar, and since then, between 1,200 and 1,400 migrants helping build infrastructure for the event have died on the job. Aside from horrendous conditions, construction workers have claimed they’re paid wages so low that they’re often in debt to their employers, that their paychecks are often withheld, and that they’re not allowed to leave the country and go back home. FIFA knows all this and refuses to use its power to force Qatar into improving conditions. The companies who fund FIFA know it too.
Now, some designers are trying to effect change by hitting them where it hurts. As reported by The Independent, they’ve been redesigning sponsors’ logos to reflect their complicity in Qatar’s human rights abuses and posting the images on Reddit and Bored Panda. In place of Adidas’s recognizable stripes, we see a row of gravestones; instead of Huyndai’s H, a pair of shackled wrists. It’s hard to imagine such companies — which spend millions of dollars every year on marketing and corporate social responsibility — being too proud now.
Join Hyperallergic for an online conversation with Kiowa Tribal Museum Director Tahnee Ahtone on January 25 at 7pm (EST).
This week, Patrisse Cullors speaks, reviewing John Richardson’s final Picasso book, the Met Museum snags a rare oil on copper by Nicolas Poussin, and much more.
Graduate students in the University of Denver’s Emergent Digital Practices program work on research with faculty who are engaged directly with their communities, both online and off.
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Jack Spicer’s poetry can be deeply funny and playful but it has a consistent undercurrent of sadness.
Belinda Rathbone’s biography traces the sculptor’s embrace of kinetic mechanisms to his work in the Singer Sewing Machine factory.
The first lecture is on the relationship between early portrait photography and diverse notions of US identity during the Gilded Age. Register to attend on January 25.
It’s the first time in the country’s history that objects of this significance are offered for public sale.
Schwartz was at the forefront of computer-generated art before desktops or the kind of software that makes it commonplace today.
Curator La Tanya S. Autry shares a set of crucial questions she considers when curating images of anti-Black violence.