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.
Igor Hofbauer from Croatia started doing posters in black-and-white photocopy style in his high school days, he told me, “because that was most exiting thing I could do to contribute local music scene.” He was influenced “mostly by Russian and German posters between two wars (not just visually, also politically).
Tom Davie produced a typography print titled “Sweepin’ Down the Plain,” created to aid in the tornado recovery effort currently taking place in Moore, Oklahoma. As a new professor of graphic design at The University of Oklahoma, he wrote me: “I was compelled to use my passion for type as way to help sustain awareness and funds for schools and relief organizations located in Moore and central Oklahoma.”