Sticker making workshop with St. Lawrence University First-Year Program class

Two SLU professors, Steve Barnard (Sociology) and John Collins (Global Studies), brought their First-Year Program class to the gallery in November 2019 for a hands-on sticker making workshop. The name of the course is “Question Everything: The Art of Information Activism,” and the syllabus states:

This course is for students who want to be activists for change and activists for truth. Activists are people who seek to transform dominant social structures through collective action that often stretches beyond the official political system. Activists start by asking deep questions about the world. Why is there so much injustice? How can we envision a better world and work toward making it happen? How can we get free from the forces that constrain us? Answering these questions requires the ability to navigate through the “information overload” of today’s world. Activists understand how to use information effectively and ethically, how to make their own media, and how to use the resources available to them to build community, promote truth, and pursue change. In this course we will explore powerful examples of activists who are asking big questions and using information creatively to develop solutions from the ground up. We will develop critical perspectives that connect the local to the global and the personal to the broader social world. We will learn important skills of investigation, analysis, and activism and put those skills to work in ways that (hopefully) promote truth and positive change.

We started the class by looking at activist posters from Justseeds, a decentralized worker-owned cooperative of thirty artists throughout North America. In 2018, St. Lawrence University purchased over a hundred posters from a series called Celebrate People’s History organized and curated by Josh MacPhee. Josh writes:

The Celebrate People’s History posters are rooted in the do-it-yourself tradition of mass-produced and distributed political propaganda, but détourned to embody principles of democracy, inclusion, and group participation in the writing and interpretation of history. It’s rare today that a political poster is celebratory, and when it is, it almost always focuses on a small canon of male individuals: MLK, Ghandi, Che, or Mandela. Rather than create another exclusive set of heroes, I’ve generated a diverse set of posters that bring to life successful moments in the history of social justice struggles. To that end, I’ve asked artists and designers to find events, groups, and people who have moved forward the collective struggle of humanity to create a more equitable and just world. The posters tell stories from the subjective position of the artists, and are often the stories of underdogs, those written out of history. The goal of this project is not to tell a definitive history, but to suggest a new relationship to the past.

We also looked at stickers from the exhibition Re-Writing the Streets: The International Language of Stickers that Oliver Baudach and I co-curated in 2015. I showed them examples of stickers that employ “culture jamming” techniques, a method used by artists and others to subvert mainstream media and corporate advertising.

As a warm-up, I asked students to draw an existing sticker, an exercise that helps get their creative juices flowing, as some are initially shy to express themselves visually. Having an external prompt like that works well.

Next, students spent the rest of class by drawing their own stickers from scratch and/or by using a template from the international Streetart Against Hate campaign (another external prompt that worked well). From the group’s website:

Hatred is a global theme and shows its nasty face in many different facets. It’s time to act, it’s time to get loud. About art as a means to an end and about social media for the worldwide networking of artists who set a sign against hatred. The project has been launched via Instagram in November 2018. The viral effect was already clearly perceptible on the net after a few days. Right from the beginning more than 100 artists from all over the world took part, among them many well-known ones like Thomas Baumgärtel (Bananensprayer) and Dave the Chimp joined the #nohatefamily movement. In March 2019, around 1000 artists are already actively setting a creative sign against hatred with their own individual designed #nohatefamily sticker. To set a sign against hatred means concretely to demonstrate by the union of the artists in the collages that we united stand for love, diversity and a peaceful togetherness. The bigger sticker collages are called “Walls of Love.”

Several students chose to draw a #nohate design, and we decided afterwards that we’re going to wheatpaste the drawings onto a piece of painted plywood as a collaborative art project. I’ll send a photo of the finished “Wall of Love” piece to the #nohatefamily levveunlevvelosse (live and let live) Instagram site, too.

"Paper Bullets" review in Berliner Zeitung

Kleben und leben lassen

Eine Ausstellung in Mitte widmet sich der einhundertjährigen Geschichte von politischen Stickern. Eine Reise von Montreal über New York an die Spree

Von Paul Linke

Es gibt ein paar Orte in Berlin, die als Hall of Fame der alternativen Stickerszene bezeichnet werden: die Fassade des Kino Intimes und das gesamte RAW-Gelände in Friedrichshain, in Mitte das Haus Schwarzenberg und die S-Bahnbögen am Hackeschen Markt Richtung Alexanderplatz. Wer dort klebt, lebt in einer tendenziell linken Welt, im Dauerwiderstand gegen Kriegstreiber, Spekulanten, Rassisten, Nazis. Im Gegensatz zum Sprühen ist Kleben keine Sachbeschädigung, sondern eine Ordnungswidrigkeit.

Die Wurzeln der politischen Stickerkunst reichen über einhundert Jahre zurück. Um 1910 entwarfen die Industrial Workers of the World die ersten Paper Bullets, auch stille Agitatoren genannt; das waren briefmarkenähnliche Protestaufkleber, die mit Spucke an Wänden, Türen und bestimmt auch mal auf der Stirn platziert werden konnten. Neben den in Gewerkschaften organisierten Stahlarbeitern in den USA waren auch Frauen, die ihr Wahlrecht erstreiten wollten, die kreativen Treiber dieses neuen Protestformats, das sich besonders in Städten zu einem präsenten Medium entwickelt hat. Darüber und über vieles mehr erzählt eine von der Autorin und leidenschaftlichen Stickersammlerin Catherine Tedford kuratierte Ausstellung in der Berliner Neurotitan Gallery, die an diesem Sonnabend eröffnet wird.

Tedford wohnt in New York, doch die meisten Aufkleber fand sie auf ihren Streifzügen durch Deutschland und vor allem in der Welthauptstadt der Sticker: Berlin. Am Anfang ihrer Sammlerkarriere kratzte Tedford die Sticker von Hauswänden, Klotüren, Laternen oder Abflussrohren. Inzwischen verfügt sie über ein weltweites Netzwerk, das sie mit neuem und altem Klebestoff versorgt.

So einfach wie heute war die Stickerherstellung übrigens nie. Man entwirft ein Motiv am Computer, schickt die Dateien an eine Druckfirma, die dann etwa verspricht: „Biologisch abbaubare seidenmatte Folie mit starkem UV-Schutz und auf der Rückseite geschlitzt. Die umweltfreundliche und wetterfeste Variante, perfekt für draußen geeignet.“ In der Berliner Hall of Fame ist noch Platz, ein paar Quadratzentimeter zumindest.

Bildunterschrifte, von links nach rechts, von oben bis unten:

Gegen Intoleranz seit 2007: Das Aktionsbündnis des schwul-lesbischen Fanklubs „Queerpass Sankt Pauli“ und der Fanszene des FC St. Pauli tritt jeder Form von Diskriminierung entgegen. Nicht nur im Fußballstation.

Gegen Massenmöbelkonsum 2013: Sticker des Berliner Street-Art-Künstlers Mein lieber Prost. Seine Werke heißen „Prosties“, sind immer humorvoll und fast immer gesellschafts- oder kapitalismuskritisch.

Für Verstand am Ufer 2010: Demonstrationsaufruf gegen die investorenfreundliche Städtebaupolitik des Berliner Senats entlang der Spree. Die Stadt wurde leider nicht gerettet. Siehe auch Initiative „Media Spree versenken“.

Für indigene Eigentumsrechte 2015: Sticker der Aktivistin Zola, die auf die Ausbeutung der indigenen Völker in Kanada aufmerksam macht. Das Stadtgebiet um Montreal gehörte einst dem Stamm der Mohawk.

Für Frieden in Vietnam 1969: Die New Yorker Friedensorganisation National Peace Action Coalition rief auch mit Stickern zu Demonstrationen auf. Sechs Jahre später verließen die US-Truppen das Land in Südostasien.

Gegen Atomraketen 1982: Protestaufkleber – feuchtfröhlich Spuckie genannt – gegen die Stationierung der Pershing II und BGM-109 Tomahawk in Westeuropa. Der Künstler ist unbekannt. Die Protestausgang schon.

Für ein buntes Leben 2017: Teil einer Stickerserie der Künstlerinnen Aaron Huez and Shepard Fairey für mehr ethnische, kulturelle und religiöse Vielfalt. Eine amerikanisch konnotierte Version von „Wir sind das Volk“.

English translation

Stick and Let Live

An exhibit in Berlin’s Mitte district dedicates itself to the hundred-year history of political stickers: A trip from Montreal through New York to the Spree

By Paul Linke

There are a few places in Berlin considered to constitute the hall of fame of the alternative sticker scene: the façade of the movie theater “Kino Intimes” and the entirety of the “RAW-Gelände” in Friedrichshain, as well the Schwarzenberg House and the tramrail arches at the Hackescher Markt square near Alexanderplatz in Mitte. Everyone who puts up their stickers here lives in a typically left-wing world in constant opposition against warmongers, capitalist businessmen, racists and Nazis. In contrast to spray-paint graffiti, however, stickers aren’t a form of property damage but merely a low-level infringement.

The roots of political sticker art reach over one hundred years back. In 1910, the Industrial Workers of the World designed the first “Paper Bullets,” also known as silent agitators. These were postage stamp-sized protest stickers, that could be stuck with spit on walls, doors and no doubt on foreheads from time to time. Alongside the unionized steelworkers in the USA were the women fighting for voting rights and driving the creativity of this new protest format that has developed into a relevant medium, particularly in cities. Author and passionate sticker collector Catherine Tedford presents this history and much more in her curated exhibit in the Berlin Neurotitan Gallery, opening this Saturday.

Tedford lives in New York, but most of the stickers were found on her travels through Germany, primarily in the capital city of stickers: Berlin. At the beginning of her collecting career, Tedford scraped stickers from house walls, bathroom doors, lampposts or drainpipes. She currently possesses a worldwide network of stickers old and new.

Sticker production was not always a simple task. Nowadays, you can draw up a design on a computer and send it to a print shop that then makes the promise of a “biodegradable matte-finish film with strong UV protection, slotted on the back. The environmentally friendly and weatherproof version, perfect for the outdoors.” There is still some room in the Berlin sticker hall of fame—a couple square centimeters, at the very least.

Image captions, from left to right and top to bottom:

Against intolerance since 2007: The activism coalition composed of the gay-lesbian fan club “Queerpass Sankt Pauli” and the fan scene of the soccer team FC St. Pauli fights every form of discrimination, and not only in the soccer stadium.

Against mass-produced furniture consumption 2013: A sticker from the Berlin street artists “Mein lieber Prost.” His works are called “Prosties,” are always humorous and almost always critical of society or capitalism.

For reason on the shore 2010: A call to demonstration along the river Spree against the investor-friendly city development politics of the Berlin senate. Unfortunately, the city was not saved. See also the initiative called “Media Spree Versenken.”

For indigenous property rights 2015:  A sticker from the activist Zola, who brings attention to the exploitation of the indigenous peoples in Canada. The land around Montreal originally belonged to the Mohawk tribe.

For peace in Vietnam 1969: The New Yorker peace organization National Peace Action Coalition also used stickers to call people to demonstrations. Six years later, the US troops left the country in Southeast Asia.

Against nuclear missiles 1982: Protest stickers – called “boozy spit-stickers” – against the stationing of the Pershing II and BGM-109 Tomahawk in Western Europe. The artist is unknown. The outcome of the demonstration is, however.

For a colorful life 2017: Part of a sticker series from the artists Aaron Huez and Shepard Fairey for more ethnic, cultural and religious diversity. An American connoted version of “Wir sind das Volk.”

Special thanks to Brendan Reilly, St. Lawrence University Class of 2020, for the English translation.

“Paper Bullets – the expanded version” at Neurotitan Gallery in Berlin, Germany

In the summer of 2019, I was given the opportunity to present an expanded version of my Paper Bullets exhibition at the acclaimed Neurotitan Gallery in Berlin, Germany. Oliver Baudach, the director of Hatch Kingdom Sticker Museum, was the driving force that made the project possible. It was an enormous undertaking, in that for the first time I drew from my entire collection of thousands of new, unused, historical and contemporary political stickers from around the world.

Neurotitan is a non-commercial, alternative art gallery that features urban art. Housed in the Haus Schwarzenberg in Mitte, the gallery dates back to 1995. The entrance to the gallery is located away from the street, and the walls leading up to it are covered with painted murals, wheatpastes, stencils, yarn bombs, and stickers. Every public street art tour in Berlin stops here to see the ever-changing outdoor displays and the rotating exhibitions inside. I knew when I first saw the space in the mid-2000s that I wanted to show my stickers there, and my dream came true this year.

Exhibition planning

Even though for the past 15+ years, I’ve scanned over 11,000 stickers (which you can view in Flickr albums), I started scanning any other un-scanned stickers in January 2019 to make sure I had image files for everything that would go into the show. The photo below shows one of three pages of notes related to scanning several hundreds of additional stickers this year.

I’m now in the process of typing this info into my “simple spreadsheet” (now 15 pages long). The lines in red indicate the scanning done this year and the image files that will need cropping and color adjusting. Yipes. It will be useful for when I go to publish a book, though!

In early May 2019, I started making selections for the show. Since classes at St. Lawrence University were over, I was able to use the printmaking studio there to set everything out and see all of the groupings side by side. I asked SLU faculty and students in Modern Languages and Global Studies for their input on my selections to make sure I had organized everything correctly, especially for stickers from countries other than the US and Canada. A contact in Spain (GG) provided valuable input and caught a few mistakes (i.e., right-wing groups often appropriate left-wing images and text, which tripped me up a few times with the Spanish stickers).

Oli also came to St. Lawrence later that month to put together the SHE SLAPS traveling show, and we had enough time during his visit for him to go through my selections. He speaks Spanish and German and helped with stickers from those countries, caught a few dupes, and made some other recommendations.

We ended up with over 2,200 stickers from over a dozen countries grouped on 54 sticker boards by geographic location, date, and subject.

I went to Berlin at the end of July to frame the sticker boards with Oli, and Neurotitan staff installed the show. The gallery itself is huge with about 285 running feet of wall space and lots of big windows for natural light.

Opening night

 

Exhibition announcement

English text panel

Paper Bullets: 100 Years of Political Stickers from Around the World

-the expanded edition-

Publicly placed stickers with printed images and/or text have been used for decades as a form of political protest or to advocate political agendas. In the United States, for example, as early as the mid-1910s, labor unions created the first “stickerettes” or “silent agitators” to oppose poor working conditions, intimidate bosses, and condemn capitalism.

Later, during World War II, western Allied and Axis countries dropped gummed “paper bullets” or “confetti soldiers” from the sky as a form of psychological warfare to demoralize both troops and civilians. During the 1960s and ’70s American civil rights era, paper “night raiders” protested the war in Vietnam and U.S. imperialism, and called for racial and gender equity among blacks, whites, men, and women. Colorful, lightweight German spuckies have also been used for several decades to combat fascism and sexism and to comment on environmental issues.

Drawing from the private collection of Catherine Tedford (US), the exhibition features over 2,270 original, unused political stickers from Canada, Egypt, England, Germany, Indonesia, Spain, Ukraine, United States, and other countries, dating from the early 20th century to present day. The exhibition is organized by subject, including labor and workers’ rights, gender and sexuality, racism, surveillance, war and conflict, the environment, and police brutality. Stickers are also grouped by geographic location and date.

Catherine Tedford, gallery director at St. Lawrence University, first discovered street art stickers while visiting Berlin in 2003 and has since collected over 12,000 examples from countries around the world. She writes about political stickers on her research blog Stickerkitty and has presented papers at academic conferences in Canada, England, Germany, Scotland, and the United States. In 2014 and 2015, two smaller Paper Bullets exhibitions were presented at Hatch Kingdom Sticker Museum, Berlin, Germany. Variations of Paper Bullets have also been featured in the U.S. at Susquehanna University (PA) in 2015 and at Central Washington University (WA) and St. Lawrence University (NY) in 2017.

In 2015, St. Lawrence University received a multi-year grant from the U.S. Council of Independent Colleges through the Andrew W. Mellon Foundation to digitize the stickers for a Street Art Graphics digital archive, which is made available for education and research. To view the digital archive, visit https://library.artstor.org/#/collection/87730635.

“SHE SLAPS: Street Art Stickers by Women Artists from Around the World” traveling exhibition at SLU

The exhibition SHE SLAPS: Street Art Stickers by Women Artists from Around the World closes at St. Lawrence University this week. Here is the co-curator’s statement I wrote about the project:

SHE SLAPS features 536 street art stickers by 85 contemporary women artists from 20 countries around the world. Drawn from the private collection of Oliver Baudach, founder and director of Hatch Kingdom Sticker Museum in Berlin, Germany, the exhibition includes stickers individually drawn, painted, and/or printed by the artists, as well as silkscreen, offset, and digital designs that were printed in larger runs through commercial services. In the spring of 2019, Baudach also sent out a worldwide call-for-entries for new stickers to add to the SHE SLAPS exhibition and to St. Lawrence University’s Street Art Graphics digital archive.

The exhibition includes portraits of women and men, fanciful “character design” creatures, and various images and text that function as artists’ “tags.” Female personas represented in the exhibition range from dolls, punks, and riot grrls to femmes fatales and leading ladies. A handful of artists address political subjects, with one artist using photos of her cat Illchmann as a spoof on Grumpy Cat in order to comment on sexism, racism, and gun violence. The exhibition organizers also noted that the stickers in the show, with few exceptions, exclude images of violence, skulls, or military-related themes often found in stickers by some male artists.

Several artists contributed works that are part of an ongoing global campaign called Streetart Against Hate: To Live and Let Live, in which artists can download circular templates with text in different languages and design their own stickers (click on link to view photos from the #nohatefamily sticker campaign).

When asked, many artists in the exhibition indicated that identifying as a female affected their work, while others felt that gender and sexuality did not play a role. All of the artists indicated a strong sense of solidarity among street artists in general, however, whether male or female.

A grant from the Andrew W. Mellon Foundation to the U.S. Council of Independent Colleges provided funding support to St. Lawrence University to catalogue stickers by women artists for the Street Art Graphics digital archive.

_________________________________________________

As of today, there are 433 newly catalogued stickers in the digital archive, with a few hundred more in the works from a previous scanning job at Hatch Kingdom in 2017. Special thanks to SLU’s arts metadata technician, Arline Wolfe, and Tyler Senecharles ’20.

Screen Shot 2019-10-07 at 1.37.04 PM

In conjunction with the exhibition, the Richard F. Brush Art Gallery also hosted an informal discussion and sticker making workshop with the Boston-based, self-taught artist ANKANA. Over 35 students and a handful of older community members attended, drawing on USPS Label 228s and Hello-My-Name-Is stickers with colored pencils and markers. With the female-based SHE SLAPS show, it wasn’t surprising to see so many women show up for the workshop (I counted three men in the crowd), and women’s themes certainly emerged in the stickers everyone made.

IMG_9042

With the female-based SHE SLAPS show, it wasn’t surprising to see so many women show up for the workshop (I counted three men in the crowd), and women’s themes certainly emerged in many of the stickers everyone made.

Artist’s Statement

ANKANA, a.k.a the Harami Artist (she/her), is originally from Assam, India. Her earliest exposure to art came from seeing her grandmother’s creations and watching her father paint. Although creativity ran in the family, she was never encouraged to pursue art as a profession. Being surrounded by nature in her childhood heavily influenced her, and that influence permeates her work today. She experiments with ink, acrylic paint, watercolor, fiber, collage, and digital photography, creating surreal imagery with elements of fantasy, grounded in reality as she experiences it. Using detailed patterns and bright colors, her work centers on and celebrates nature and wom*n/femme in a positive way.

ANKANA started her sticker journey in 2017. In 2018, she participated in and helped organize the Priority Made Sticker show in Boston, Massachusetts. You can see her work on IG @beankana.

 

 

Symbols of Hate

IMG_7902

I found another alt-right sticker in Potsdam, NY, last week. This one was a heavy vinyl sticker compared to the lightweight paper “Pepe the Frog” white power stickers I found last January along the same block. In a December 30, 2016, Vox article called “The 2016 culture war, as illustrated by the alt-right,” author Aja Romano writes that the figure on this sticker represents:

“…the head of the Egyptian frog-god Kek superimposed over an image of his counterpart, the Egyptian snake god Kauket, in a seal inscribed with the Latin phrase ‘satis mentibus obvia,’ or, ‘resist closed minds.’ It’s complicated, but basically, through a series of meme-heavy coincidences involving 4chan’s use of ‘kek’ as a synonym for ‘lol,’ 4chan users profess to believe that Pepe (yes, the cartoon frog) is a reincarnation of Kek, an Egyptian frog-god who ruled over chaos and darkness, and that his coming is a sign that Donald Trump will save them all. Their satirical worship is what turned Pepe from a random internet meme into a racist and white nationalist meme symbol of hate. The ordeal understandably left [the original artist Matt] Furie outraged and upset, and he began a ‘take back Pepe’ campaign in October.”

I photographed the sticker and removed it from the street pole and will show this photo and the photos from earlier this year to the Potsdam police, as suggested by the Anti-Defamation League in NYC. For more information on racist and fascist symbols, see the ADL’s website Hate on Display: Hate Symbols Database.

German 103 writing assignment at SLU – fall 2018 – three examples

In the fall of 2018, St. Lawrence University students in Dr. Brook Henkel’s German 103 class again incorporated contemporary street art stickers from Germany for a writing assignment called “Politische Plakate und Aufkleber in Deutschland” (similar to what his students did in the fall of 2017). As before, I introduced the assignment by giving a brief talk with slides describing the ubiquitous sticker culture in Berlin, focusing on topics such as urban development, gentrification, police authority, surveillance, and identity politics. Students then came to the gallery where I work to look at three sets of original, unused stickers from my collection:

  • 34 political stickers that I picked up in May-June of 2017 at a squat/community resource center in Berlin called Infoladen Daneben;
  • 58 political stickers that Oliver Baudach sent to me in May of 2018 from Berlin’s annual May Day festival and from other sources (Oli is the founder and director of Hatch Kingdom in Berlin, the world’s first and only sticker museum); and
  • 47 political stickers that Oli sent to me in August of 2018.

Before coming to class, the students also read two short articles that I wrote about SLU’s Street Art Graphics digital archive and about Hatch Kingdom:

Brook gave me three of the best examples of writing that his students did, which I’ll share below. In response to the assignment, he wrote:

“In all of my German language and culture classes, I try to give my students a sense of the robust culture of democratic politics and activism in Germany today. In a country still shaped by memories of fascist dictatorship under the Nazis and one-party socialist rule in the former GDR, Germans are far less likely than Americans to take for granted the benefits of a free, open, and democratic society. I’m enormously thankful to Cathy Tedford, Director of the Brush Art Gallery, for the opportunity to bring this culture home, by allowing my students to engage with authentic cultural materials related to contemporary German politics and activism. In both the Fall 2017 and 2018 semesters, Cathy gave a presentation and organized a gallery visit for my Intermediate German students to learn about and study her extensive collection of German political stickers and street art. By looking through her collection, students encounter a range of themes, from environmentalism to feminism, anti-fascism, and the politics of immigration. This work challenges both their skills in German language as they work to read and understand the political messages, as well as their knowledge of contemporary German politics. They select several stickers on a single political theme and work to compose an essay in German that provides a cultural, political, and historical context for understanding the political stickers and then develops a close reading of their verbal and visual strategies. The assignment works wonderfully as an impetus for developing, at once, new cultural knowledge, skills in formal analysis, and more sophisticated writing in German. The students tend to recognize the considerable challenge of the assignment, but are always motivated to push their abilities, since the materials seem so politically relevant.”

He also wrote:

“The one change I think I will make for next year is to have them do some short readings in German in advance related to the main political topics represented by the stickers. It would be good to have them get a sense for the relevant vocabulary and political issues in advance. I still like the kind of exploration and ‘figuring things out’ that happens as the students go around and try to decipher the stickers––in a way, like they would if they were encountering them as street art in a German city. But I still see the need to dedicate a bit of class-time and assigned reading in advance to get them to engage on a deeper level.”

Brook Henkel’s writing assignment:

On Friday, December 1 in class, we will be meeting with the Director of the Brush Art Gallery Cathy Tedford to study her collection of German political stickers. Our goal for this class will be for each student to identify three stickers of interest that have a similar political theme (anti-fascism, feminism, gay rights, anti-racism, environmentalism, economics, migration, refugees, specific political figures, etc.). Based on your common interests with others in the class, you will begin working in pairs to discuss, translate, interpret, and analyze your chosen images.

Due next Friday, December 8, will be your fourth and final essay, which will describe the cultural and historical context for your selected images along with a close analysis of one of the political stickers. Your essay should have a three-paragraph format:

  1. introduction of the political, historical, and/or cultural context in Germany referred to by the stickers (Here, you might need to do a little research online. When describing past events and conditions in Germany, pay attention to the proper verb tenses of “Imperfekt/Präteritum” and “Plusquamperfekt” and use each of the following conjunctions at least once: “als”, “nachdem”, “bevor”);
  2. introduction and close formal analysis of one of the images; and
  3. a discussion of all 3 images in general and commentary on their collective message and strategy as visually striking combinations of text and image.

Note: When you’ve completed either a full first draft or are working to polish a final draft, you are free to visit the German Writing Center in the Language Resource Center on the second floor of Carnegie Hall, Sundays through Thursdays from 8:00 to 10:00 p.m. An advanced student in German will be there to read your complete draft and help you identify and correct any grammatical or stylistic mistakes.

das Plakat(e) = a poster adhering to outdoor surfaces for advertising, art, protest, etc.

der Aufkleber = an adhesive sticker or label, also used in political street art.

Here are the three examples of student writing from the assignment.

Feminismus by Rebecca Shyne, SLU Class of 2021

Deutschland hat eine lange Geschichte mit Frauen in der Politik. Die Frauenbewegung begann 1888 bis 1918 während Wilhelminismus. Nachdem die erste Welle von Feminismus in den USA und in Australien begonnen hatte, mochte deutsche Frauen sich in die Politik engagieren. Frauen wollten mehr Gelegenheiten für Studien und Lernen. Leider, in der Zeit von 1933 bis 1945, gaben die Nationalsozialisten den Frauen nicht viele Karrieremöglichkeiten. Nach dem Zweiten Weltkrieg wollte die deutsche Gesellschaft Frauen zu ihrer traditionellen Rolle zurückkehren. Bevor Frauen ihre Rechte zurück bekamen, wurde die National Organisation für Frauen gegründet. Durchweg die Mitte des zwanzigsten Jahrhunderts, hatten Frauen ihre Rechten langsam bekommen. Als die Frauenbewegungen in Deutschland entstehen war, hat die Amerikanische Frauenbewegung am ersten entsteht. Die Gedanken von Frauen über der ganzen Welt und auch in Deutschland hatten ausgebreitet.

Das erste Foto spricht über Frauen und ihre Rechte. Es sagt in dickem Text „Gegen Rechte Hetze“. In der Mitte kann man eine Frau sehen. Sie heißt Ruby Rose und spielt die Rolle von „Rosie the Riveter“. Ruby Rose ist eine australische Schauspielerin, die in vielen Sendungen gespielt hatte. Auf ihren Armen hat sie ein paar Tätowierungen von einer Rose und Dinge über Liebe. Sie ist eine moderne Version von einer starken Frau, die beliebt und geliebt ist. Der Text auf der rechte Seite spricht über Frauen gegen Neonazis, rechte Hooligans, Parteien und Rassisten. Es ist eine Ankündigung für eine Kundgebung am Washingtonplatz in Berlin. Die Bilder benutzen rosa, weiß und schwarz in dem Foto. Der Stil der Fotos ist Punk und hat ein Rock-und-Roll Thema. Der Aufkleber ist auffällig und je mehr man sich es ansieht, desto mehre Auskunft man bekommen kann.

Die drei Aufkleber haben alle ein gleiches Thema: Frauen gegen schlechte Ideenlehre und Organisationen. Die Phrase, „sexistische kackscheisse“ spricht nur über Sexismus aber sieht wie der erste Aufkleber aus. Wir sehen rosa, schwarz und weiß für Farben auf beiden Bildern.

Die anderen Aufkleber benutzten die Farben ebenso, wie weiß und rot. Alle Bilder vertreten Frauenbewegung in moderne Gesellschaft. Frauen sind wichtig, bedeuten viel, und sollen eine Stimme in unserem täglichen Leben haben. Die Geschichte von Frauen ist nicht besonders gut oder einschließlich. Ohne Frauenschilderung, wurde die Welt von Männern geherrscht. Es ist wichtig, dass Frauen eine Stimme in dieser Gesellschaft haben.

Flüchtlingspolitik by Jayden Ladison, SLU Class of 2021

Als die Flüchtlinge im Sommer 2015 anfingen nach Deutschland zu reisen, hat Bundeskanzlerin Angela Merkel für sie eine Politik der offenen Tür geschaffen. Bevor diese Politik geschaffen wurde, hatten Deutschland und die Europäische Union die „Dublin-Politik” angewandt. Leider nachdem die Politik der offenen Tür eingesetzt wurde, hatte sich in Deutschland ein konservativer Standpunkt gegenüber Flüchtlingen entwickelt. Es gibt jedoch einige Hoffnung. Einige liberalen Demonstraten begannen mit Aufklebern, um die Akzeptanz von Flüchtlingen zu fördern.

Das erste Bild ist ziemlich klar. Es ist ein quadratischer Aufkleber. Der Hintergrund ist weiß mit einem dunkelen Flüchtlingsbett mit einem roten Kreuz darüber in der Mitte. Oben sind die Worte: „Wohnungen für alle!“ und darunten sind „Keine Flüchtlinge in Lager!“ Unter den Wörtern ist eine Informationswebsite im Rot. Es gibt ein paar Wortspiele darin. Das Wort „Lager“ bedeutet Camp und Magasin auf Deutsch, und so kritisiert mit einem Satz der Aufkleber viel über die deutsche Flüchtlingspolitik. Erstens, kritisiert es der Zustand der Gemeinschaftsunterkünfte in Deutschland. Die Gemeinschaftsunterkünfte sind nicht so gemütlich. Sie sind meistens renovierte Kaserne, die oft überfüllt sind. Die Betten sind auch nicht so komfortabel wie auf dem Aufkleber gezeigt wird. Dieser Aufkleber setzt sich eindeutig für bessere Bedingungen in den Gemeinschaftsunterkünften ein. Der Künstler des Stickers meint, dass Flüchtlinge wie Stock oder Dingen behandelt werden. Auch, die zweite Definition von „Lager“ ist für diesen Aufkleber wichtig. Der Künstler sieht auch Ähnlichkeiten zwischen den Flüchtlingen heute und jüdischen Menschen im Zweiten Weltkrieg. Der Künstler könnte vielleicht über die neue konservative Ideologie Deutschlands besorgt sein. Dies zeigt, dass Deutschland Flüchtlinge als „andere” behandeln wird, wie sie die Opfer des Holocaust behandeln. Der Aufkleber argumentiert, dass Deutschland nicht vergessen soll, dass die Flüchtlinge auch Menschen sind.

Der erste Aufkleber ist seinen Ansichten nicht allein. Viele Aufkleber wie diese sind in letzter Zeit beliebter geworden. Der zweite Aufkleber hat eine ähnliche Nachricht wie der Erste. Beide argumentieren, dass Deutschland für Flüchtlinge offen sein sollte und verweisen auch auf die Nazi Partei. Zuletzt der dritte Aufkleber wendet diese Idee auf der ganze von Europa an. Der zweite Aufkleber ist ein bisschen bunter als die anderen zwei, aber alle Aufkleber benutzen neutrale Farben. Grau, Weiß und Schwarz hebt sich von den bunten Aufklebern ab, die sie häufig umgeben. Es macht auch ihre Botschaften ernster. Alle diese Aufkleber zeigen, dass Flüchtlinge in Deutschland und Europa Willkommen sind. Wenn mehr dieser Aufkleber auftauchen, kann sich die Einstellung der Bürger Deutschlands zum Besseren ändern.

Bündnis 90/Die Grünen by Kamryn Ransom, SLU Class of 2021

Meine drei Aufkleber haben alle ein ähnliches Thema rund um Umweltbewusstsein. Mein Hauptaufkleber sagt: „Dem Klimawandel ist es egal, ob man ihn leugnet.“ Das Sprichwort auf dem Aufkleber ist ein Versprechen der Alliance 90 / The Greens. Die Alliance 90 / Die Grünen oder „Grünen“ sind eine grüne politische Partei in Deutschland. Die Partei­vorsitzenden sind Annalena Baerbock und Robert Habeck. Der Hauptsitz befindet sich in Berlin. Es wurde 1993 gegründet und konzentriert sich auf ökologische, ökonomische und soziale Nachhaltigkeit. Bevor das Bündnis 90/Die Grünen gegründet wurden, waren Die Grünen und das Bündnis 90 die grünen Parteien in West- und Ostdeutschland gewesen. Mein erster Nebenaufkleber sagt: „Ackergifte? Nein Danke!“ von der Landwende. Die Bürgerinitiative „Landwende“ wurde im 2001 als Reaktion auf eine massive Herbizidvergiftung gegründet. Das Ziel der Kampagne “Ackergifte? Nein, danke!” ist die Verwendung aller synthetischen Ackergifte zu verbieten. Ackergifte sind chemische Tötungsmittel, die gegen Pflanzen, Pilze, Insekten und Mikroorganismen auf den Äckern ausgebracht werden. Darunter sind hochgiftige Wirkstoffe, die Bienen töten und Menschen gesundheitlich schädigen. Mein zweiter Nebenaufkleber ist ein Bild von Groot von Marvel und sagt „Plant More Trees.“ Die Künstlerin ist eine Straßenkünstlerin aus Düsseldorf namens Matraeda. Matraeda verwendet geometrische Formen in ihrer Kunst.

Ich werde meinen Hauptaufkleber analysieren. Der Aufkleber ist ein grüner Kreis mit einem kleineren rosa Kreis. Im Vordergrund steht eine Sonnenblume. Unter der Sonnenblume sagt: „Darum Grün.“ „Warum grün“ steht für die Alliance 90 / The Greens. Die Mitte des rosa Kreises sagt: „ Dem Klimawandel ist es egal, ob man ihn leugnet.“ Auf Englisch heißt es: „ Climate change does not care if you deny it.“ Das Sprichwort war der Titel des Artikels auf ihrer Website am 27. August.  In dem Artikel heißt es, dass die Menschen sozial und politisch umdenken müssen, wenn wir nicht alle zum Scheitern verurteilt sind. Alliance 90 / The Greens versprach eine echte Alternative im Kampf gegen die Klimawandel-Leugner. Auf dem Aufkleber heißt es, dass der Klimawandel stattfindet, ob wir nun daran glauben oder nicht.

Alle drei Aufkleber sind durch Umweltprobleme miteinander verbunden. Die Aufkleber enthalten alle die Farbe Grün und ein Naturbild; eine Sonnenblume, eine Biene und ein Baumcharakter. Der Hauptaufkleber ist das Gesamtbild des Klimawandels. Bei den beiden anderen Aufklebern stellen sie dar, wie sich der Klimawandel auf die Umwelt auswirkt. Die drei Aufkleber zeigen die Wichtigkeit der Natur. Bienen liefern uns viele Nahrung und Bäume lassen uns atmen. Als ich ein Kind war, wurde mir die Wichtigkeit der Umwelt gelehrt. Uns wurde eine Geschichte erzählt, die Wichtigkeit der Natur zeigte. Die Botschaft der Geschichte war einfach. Nachdem wir weg gewesen waren, wurde die Natur immer noch hier. Ohne die Umwelt werden wir nicht leben. Deshalb ist mein Hauptfach Politik- und Umweltwissenschaft.

AAC&U poster presentation 10.12.2018

AACU poster-FINAL


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