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Anton Stankowski
Kieler Woche, 1962
(This poster was shown at the Documenta III.)


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

Stankowski + Duschek
11th Olympian Congress 1981
Baden-Baden, 84.2 x 59.5 cm,