If you happened to walk through Kings Cross or past Facebook’s London headquarters on March 21, you might have seen people passing out pink posters with instructions on “How to Leave Facebook.” Designed by Turner Prize-winning artist Jeremy Deller, the posters served as a response to the ongoing scandal involving Facebook and the political consulting firm Cambridge Analytica.
According to recent reports, Facebook seems to have turned a blind eye when Cambridge Analytica surreptitiously collected user data from 50 million people. The company then used the collected data to target individual users with advertising for clients, including the Trump presidential campaign.
Deller is just one of millions of people angered by the news. In an email to Hyperallergic, he said he’d already tried to leave Facebook “a few years back, but got bamboozled by it. I last posted about 8 years ago, and since then I have let it go moldy.”
A conceptual artist, Deller is most famous for “The Battle of Orgreave” (2001), in which he gathered about 1000 people to stage a public re-enactment of a clash from the 1984-85 U.K. miners’ strike.
Deller’s Fabeook poster is an extremely detailed explanation of the six steps to deleting a Facebook profile (he even explains what a “captcha code” is), printed on his now-characteristic shade of pink.
He wasn’t the one to actually distribute his posters. That was the responsibility of an organization that commissioned the project in the first place. Rapid Response Unit (RRUNews), a “public news bureau” that opened earlier this month in a mall in Liverpool, works on public projects with artists, musicians, actors, and writers — “correspondents” who create works in response to breaking news stories. RRUNews passed out the pink posters in Liverpool, too.
Deller actually had the text ready to go before the latest Facebook scandal broke. Earlier this year, he printed it on a shirt for Kettle’s Yard.
When asked whether his “How to Leave Facebook” posters should themselves be considered art, his answer was brief: “Probably not.”
The close, careful, and subtle observation I found this year is representative of precisely why I continue to gravitate to this fair.
How do we counter stereotypes about Black mothers, while stressing the importance of memory, determination, love, and corporeality?
An expansive exhibition on Adeliza McHugh’s influential Candy Store Gallery celebrates the whimsical, irreverent aesthetic that put California’s Sacramento Valley on the art-historical map.
With two stellar retrospectives, one time-based installation, and several commissions by local artists, the Phillips Collection has dedicated its galleries to highlighting abstract work by Black artists.
As we begin a new year, a small moment on Queer Eye makes me think about the profound effect our stories can have on each other.
Each fellow in this 10-month intensive in New Haven, Connecticut, will receive studio or office space, subsidized housing, and a generous stipend.
Some have criticized the racist monument’s planned relocation to North Dakota, near land seized from Indigenous people.
A group called the Boriken Libertarian Forces toppled the monument hours before King Felipe VI of Spain’s visit.
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.
Still resonating with relevance, William Gropper’s incisive cartoons in defense of the WPA go on auction at New York’s Swann Galleries together with other works by celebrated WPA artists.
Archeologists excavating in Nijmegen, the Netherland’s oldest city, found the bowl in pristine condition.
A pioneer of street photography, Levitt worked in the most crowded and poorest neighborhoods of New York searching for the theater of everyday life.