Paige Hall-Petry–Post #2
Figure 1.
V. Mayakovsky. (1920) "We lit this truth above the world..." (Rosta poster) Retrieved from
https://commons.wikimedia.org/wiki/File:RIAN_archive_436925_Poster_-742_%22Ros
ta_Windows%22_dedicated_to_Russia%27s_electrification_by_Vladimir_Mayakovsky.jpg
on 21 January 2020.
https://commons.wikimedia.org/wiki/File:RIAN_archive_436925_Poster_-742_%22Ros
ta_Windows%22_dedicated_to_Russia%27s_electrification_by_Vladimir_Mayakovsky.jpg
on 21 January 2020.
“‘Let is make the squares our palettes, the streets our brushes!’...Posters were designed and
printed overnight in communal workshops. The stencil technique required flat colour and simple
shapes; fine lines or delicate lettering were impossible. To begin with, copies of stencils were
distributed by train, so that the actual production of the same poster could be carried out in remote
parts of the Soviet Union”(46).
printed overnight in communal workshops. The stencil technique required flat colour and simple
shapes; fine lines or delicate lettering were impossible. To begin with, copies of stencils were
distributed by train, so that the actual production of the same poster could be carried out in remote
parts of the Soviet Union”(46).
In the quote above, Soviet poet Vladimir Mayakovsky explain the process of replication
in his propaganda pieces via stencil printing as displayed in “We lit this truth above the world…”,
a poster he created in Moscow in 1920 (see Figure 1). This practice of stencil printing to increased
promotion and mobilization of issues, seen in the early 20th century here, is a common practice of
political art. In the same way that Russian anti-imperialist communists were demonstrating social
unrest before the Russian Civil War graphically through the easy spread and communal effort of
comic-type designs, many American grassroots mobilization groups fighting for civil rights worked
via this method, stencil printing, giving power of any inexperienced artist or designer the power to
contribute to the creation and dissemination of political protest. "I am a man" posters were replicated
with simple, large letters for a sanitation workers strike in Tennessee, becoming iconic imagery in
itself along side photos of the the duplicated posters held by hundreds of men (see Figure 2 below).
a poster he created in Moscow in 1920 (see Figure 1). This practice of stencil printing to increased
promotion and mobilization of issues, seen in the early 20th century here, is a common practice of
political art. In the same way that Russian anti-imperialist communists were demonstrating social
unrest before the Russian Civil War graphically through the easy spread and communal effort of
comic-type designs, many American grassroots mobilization groups fighting for civil rights worked
via this method, stencil printing, giving power of any inexperienced artist or designer the power to
contribute to the creation and dissemination of political protest. "I am a man" posters were replicated
with simple, large letters for a sanitation workers strike in Tennessee, becoming iconic imagery in
itself along side photos of the the duplicated posters held by hundreds of men (see Figure 2 below).
Figure 2.
(1968) "I am a man" (Lithograph) Retrieved from https://americanhistory.si.edu/collections/search/
object/nmah_1461248 on 21 January 2020.
object/nmah_1461248 on 21 January 2020.
Another example that the quote from Mayakovsky reminded me of is this "Speak out
against the war" protest poster created in America during the Vietnam war in the 70's
(see Figure 3). Although this was created decades later, this printed poster demonstrates
the continuation of these simple graphics as a mode of communication and upheaval. The
method, as Mayakovsky describes, allows for easy transportation and creation of duplicates.
If I remember from previous learning, during anti-Vietnam War protests, many were printing
simple posters like this one in the park before they entered the march which translates to
Mayakovsky discussing the ability distribute and reproduce posters across the USSR.
against the war" protest poster created in America during the Vietnam war in the 70's
(see Figure 3). Although this was created decades later, this printed poster demonstrates
the continuation of these simple graphics as a mode of communication and upheaval. The
method, as Mayakovsky describes, allows for easy transportation and creation of duplicates.
If I remember from previous learning, during anti-Vietnam War protests, many were printing
simple posters like this one in the park before they entered the march which translates to
Mayakovsky discussing the ability distribute and reproduce posters across the USSR.
Figure 3.
(1970) "Speak our against the war" (Lithograph on cardboard) Retrieved from https://digital.libraries.
psu.edu/digital/collection/benson/id/131/ on 21 January 2020.
psu.edu/digital/collection/benson/id/131/ on 21 January 2020.
To be frank, I am not sure if Mayakovsky’s description is hinting at the same practice due to
the futurisms’ emphasis on industrialization, mechanization etc. because this practice is
simply traditional handiwork. But, overall, the process demonstrates an ability for graphics
to be reproduced by the common man and spread. These types of prints are often single color,
simplistic designs, but their message is political, symbolic, and distributed.
the futurisms’ emphasis on industrialization, mechanization etc. because this practice is
simply traditional handiwork. But, overall, the process demonstrates an ability for graphics
to be reproduced by the common man and spread. These types of prints are often single color,
simplistic designs, but their message is political, symbolic, and distributed.
I was also intrigued by the process of replication. I thought it was interesting how now-a-days we just print whatever we need quickly. It's interesting to think of what people had to do to mass produce propaganda posters. I think its also interesting that you noted the geometric style that is prevalent, even years later. It isn't something that I've paid much attention to. However, when looking at each poster, even if there were no words, I would understand them as being war/propaganda posters.
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