I recently found a catalog of Ukrainian political posters spanning the period after the Russian revolution until the early 1980s – some are surprisingly well known. In light of the apparent push from Russian President Putin to aid the Yanukovych government, seeing this now quaint the Ukrainian SSR-Soviet era posters seems like a deceivingly innocent moment in history.
The Wolfsonian Museum has launched its website Power of Design 2014: Complaints. As a lead-up to the event, the Wolfsonian is posting a poster-a-day on the Complaint Blog, which is also “populated” with other posts on the Museum’s incredible holdings. I will post the complaint posters once week as they come off the press. Explore the first five.
Julius Gipkens (1883-1968) was one of the masters of Plakatstil (Poster Style) in Berlin and an exponent of Lucian Bernhard’s Sachplakat (Object Poster) methodology. A self-taught artist, he founded a graphics agency, which designed for the Sarotti Mohr confection firm, Cardinal Cigarettes and the Leiser shoe company.
The recent discovery of lost Nazi looted Modern masterpieces, has brought Hitler’s criminal art activities back to the forefront. Dr. Hans Sachs, poster collector, editor of Das Plakat, the magazine that advocated for standards of early German advertising art, and whose his vast collection was confiscated by Nazi Propaganda Minister Joseph Goebbels, narrowly escaped the Holocaust. Recently, after years of court wrangling, his holdings, many of which were in major German collections, were returned to his family.
A new documentary film Ai Weiwei – The Fake Case by Andreas Johnsen will be out soon and the poster announcing the film is as provocative as the artists. Thanks to Kellerhouse and Johnsen I reached Ai Weiwei through email with a few questions about art and provocation, and how he felt about this particular interpretive depiction.