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The U.S. Department of Homeland Security (DHS) is once again embroiled in controversy, this time facing condemnation from a renowned Japanese artist and a growing chorus of creatives for utilizing their work without permission to promote its hardline immigration policies. The agency’s increasing rate of deportations, highlights a pattern of behavior that is sparking outrage and raising questions about the department’s ethical boundaries.
A spokesperson for DHS stated the agency “will continue using every tool at its disposal to keep the American people informed as our agents work to Make America safe Again.” However,this assertion rings hollow for many artists whose creations are being co-opted for a political agenda they vehemently oppose.
Japanese Artist condemns DHS’s Use of His Artwork
The current backlash began on New Year’s eve when DHS posted an image on X, formerly known as twitter, featuring a serene beach scene with palm trees and a vintage car.Superimposed on the image was the stark message: “America after 100 million deportations,” accompanied by the caption, “The peace of a nation no longer besieged by the third world.”
The image, it was quickly discovered, was created by Hiroshi Nagai, a 78-year-old Japanese graphic designer celebrated for his distinctive “city pop” and dreamscape artwork. Nagai, known for his evocative depictions of 1950s Americana – often featuring lush landscapes devoid of people – responded to the post on X with a simple, yet pointed question: “This image is being used without permission from the US department of homeland security. What should I do about this?”
Nagai’s work typically evokes a sense of nostalgia and contemplation, a stark contrast to the harsh message DHS paired it with. The unauthorized use of his art underscores the department’s willingness to manipulate aesthetic sensibilities for political gain.
This is not an isolated incident. DHS has a documented history of employing artists’ work to bolster its immigration agenda without obtaining consent. In July, the department shared a painting by the late Thomas Kinkade, famed for his idyllic portrayals of American life. The image, depicting a mid-century suburban scene complete with schoolchildren and an American flag, was posted with the message “Protect the homeland.”
The Kinkade Family Foundation swiftly condemned the use of the painting, issuing a statement that declared the use “unauthorized” and expressing strong disapproval of the “deplorable actions” carried out by DHS. The foundation emphasized that the department’s use of the artwork to promote “division and xenophobia” was “antithetical to our mission.”
musicians Speak Out Against Political co-option
The controversy extends beyond visual artists. DHS has also faced criticism from pop stars for incorporating their music into TikTok-style videos promoting deportation efforts.
In November, Olivia Rodrigo, the 22-year-old Filipino American singer, publicly denounced the White House for using her song “all-american bitch” in a video encouraging undocumented immigrants to self-deport. Rodrigo responded forcefully, stating, “Don’t ever use my songs to promote your racist, hateful propaganda.” DHS responded by suggesting Rodrigo should “thank” federal law enforcement officers.
Weeks later, Sabrina Carpenter similarly condemned the White House for using her song “Juno” in a video showcasing immigration and Customs Enforcement (ICE) officials conducting immigration raids in Chicago. Carpenter labeled the video “evil and repulsive” and demanded that her music not be used to support the department’s “inhumane agenda.”
The repeated instances of unauthorized use and the insensitive submission of artistic works to a contentious political issue raise serious questions about DHS’s respect for intellectual property and its commitment to ethical communication. The agency’s actions are not only alienating artists but also fueling accusations of manipulative propaganda and a disregard for the values these artists represent.
