Anton Stankowski
Kieler Woche, 1962
(This poster was shown at the Documenta III.) |
Posters
Stankowski’s posters are enticing not because they pretend to depict
something desirable, but because of the way the information is set in
dynamic motion. This reflects the desire to create advertising that could
also be considered artistically creative.
During his days in Zurich, from 1929 to 1937, posters by young designers
displayed the excited spirit of the times. Posters were frequently used
in advertising, and there are still many examples of Stankowski’s
posters extant today. After the war, back in Germany, he first worked
as a photojournalist, ad later on the editorial staff of the Stuttgarter
Illustrierte. “Besides a couple of posters, I didn’t have
time for much,” and thus in 1949, he created a photomontage poster
called “When are they coming home” for the Verband der Heimkehrer,
a group of war veterans.
Many posters from the 1950s are evidence of Stankowski’s interest
in contemporary art exhibitions. He continued to make exhibition posters
into the 1960s and ‘70s. Although the poster lost its significance
as an extra-regional advertising medium, more and more cultural events
were advertised. Regardless of what kind of poster he designed, he always
worked under the maxim “concentration by exclusion.”
The Posters
Curator: René Grohnert
|
Stankowski + Duschek
We’re building for tomorrow/City of
Stuttgart, 1972, 84.7 x 59.5 cm,
Offset print |
|
Anton Stankowski
Südmilch, Milch ...
1950, 43.5 x 31.2 cm
|
Anton Stankowski
Design Center Stuttgart
Poster
1990 |
Stankowski + Duschek
11th Olympian Congress 1981
Baden-Baden, 84.2 x 59.5 cm, |