Originally archived as: 50 X 50 - 4
From the catalog, “56X56”
Head of Department: Professor David Grossman
Awards: David Tartakover, Dan Reisinger and Yaka Molcho
Director of Special Projects: Merav Kariv
Sponsorship and public relations: Reign
Catalog design: Michal and Dekel
Printing: Ofer Katz
Administrative assistance: Orly Patz and Helli Itach
Thanks: Prof. Amotz Weinberg, Baruch Sagiv, Varda Kalmar, Yosi Alkalai
______________________________________
From the catalog:
“Last year's exhibition, 56X56, was notable in that all 56 posters posters reflected the negative political and social environment. In particular, the posters dealt with terror, violence and the apparently stalled peace process. The extent of the self criticism present in the posters drew a great deal of attention and criticism in the media.”
___________________________________________"This year while there is still a good deal of criticism expressed by the posters (a natural tendency of critical creative individuals) tbere are a number of changes. The changed political environment, stirrings of developments in the peace process and the approaching disnegagements from some of the Palestinian territories are reflected in the posters, with hesitant expressions of possible advances on the peace front. More profound, are expressions of the internal tensions generated be the disengagement process, with the numerous references to maps, divisions and the unraveling of the geographic fabric of the country. Most interesting is the great number of references to internal social questions, especially to the rising wave of consumerism affecting Israeli culture and society"Read entire text here
_____________________________________________Email exchange between Dan Walsh and David GrossmanDear Mr. Walsh, I think you are referring to the posters designed in the framework of a series of Independence Day Poster exhibitions I organized over the years. The posters were designed especially for the exhibitions and were mostly created by professionals and not students. Unfortunately, while I still have the posters, they are not available in digital form. I would add that the content of the posters, designed by Israeli designers as part of what was overwhelmingly an internal debate, have a very different context when viewed by an international (and even regional) audience. I have had a look at some of the materials in your project (admittedly quite a short look!). And I think that I understand both the potential value and the motivations. I am sure that I am not the first to tell you that the issues in this part of the world are very complicated. (Yes...as in every part of the world.) There is of course value in collecting materials for academic study - the first stage of which is simple gathering (simple in terms of evaluation, not effort). But I am probably not the first to question the real academic value of merely presenting the materials, one poster next to another, without providing the often uninformed viewer with the deeper and far more complicated background issues. This is especially true when in respect to your suggestion that these materials could well be used as a basis for a study curriculum on Middle Eastern studies. If asked, I would probably identify myself as more to the left than the right (to put it mildly), and I believe my public record would support that. However I have to tell you that reviewing the structure, contents and language of your site made me uncomfortable in terms of a fair representation of the issues. Good luck with your thesis....and perhaps it would be appropriate to include this comment in your research notes! David GrossmanHello Again David, ... I myself see little academic value in "merely presenting the materials, one poster next to another, without providing the often uninformed viewer with the deeper and far more complicated background issues." It is for exactly this reason that my site, and the New Curriculum of which it is a part, has been designed, constructed and reviewed according to the principles and best-practices of, among others, Georgetown University, the National Council of Social Studies and the Middle East Studies Association. If you go through the site, which features almost 1,500 Israeli and Zionist posters (according to Yoram Shamir, the largest online archives in the world) I think you will quickly see that translations are provided in almost every case. It also provides detailed links to relevant elements found in the posters: iconography, publication data, sponsoring organizations, dates, dimensions, related posters and artists bio data and, if available, contact info. These features, modeled on the American Library Association's best-practices advisory, set the PPPA apart from all other sites related to the poster art of the Palestinian-Zionist conflict. Moreover, Israel is the number one country visiting the PPPA (approximately 600/month) and there are scores of Israeli artists, including David Tartakover (who is on the Advisory Board) who regularly send me their posters and who support the PPPA in a variety of ways. And yes, you are the first person to suggest that my project does not have real academic value. Indeed, just last week several Israeli educators wrote welcoming me to include all the posters their students had done in some recent contests and classes. As to your comment that "without providing the often uninformed viewer with the deeper and far more complicated background issues". I am in the process now of adding an "auto-fill" page that will allow these Israeli students (and also all other artists) to take control of the data process and fill out their PPPA pages with their info, links, Artists' Statements, etc. Once completed the PPPA will host these Israeli exhibits in their entirety. The question of context is central to the PPPA's identity and it sets it apart from all other Israeli/Palestinian poster sites, including that of the CZA (which has just disappeared from the internet) ... Dan WalshBegin forwarded message:
From: david grossman
Date: July 19, 2011 1:41:13 AM EDT
To: Dan Walsh
Subject: Re: Georgetown University student with research question for David Grossman...
Dear Dan,
I respect your efforts and am sorry that you seem to be offended by my comments. I don't intend to get into an exchange on this. I assume I am entitled to my opinions and my "discomfort".
I did not say that your project did not have academic value, I questioned the academic value of the materials as presently presented without what I see as the required context in relation to aspects beyond the long list of impressive efforts you indicated. Again, my opinion. If I am the first, then so be it. That should be refreshing and if my opinion has any weight perhaps a source of contemplation. I am glad that so many Israelis participate in these efforts, and note the distinguished participants you mention. May the list become ever longer. Hopefully, the numbers of participants from other countries will also increase.
I told you that while I still have access to some of the original posters, I simply do NOT have digital files for them. That is a pretty straightforward answer to your request, that is: No, I do not have the files so I cannot give them to you.
As a matter of record, I also do not have the right to distribute the images as the designers provided me with the right to present the posters in relation to the specific exhibition. These posters were created and distributed many years ago, in an administrative framework which no longer exists. It is as simple as that.
I think it is a bit much, and rather offensive, to contend that I am in some way denying 171 designers the opportunity to expose their works because of my political stance, when a) I do not have the images and b) I don't have the permission to circulate the images.
As you may be aware, designing posters is becoming more and more rare. Designers, in general, have few opportunities to generate works providing them with the opportunity to present their personal views. And when the few designers who do make the effort to voice their opinions do so, there are rarely opportunities to display these works. For these 171 designers, a rather large number, it is solely due to my efforts that all the specific posters were created, exhibited, and, eventually, came to your attention as well. And, I might add, with no intervention on my part in terms of content.
David
On Tue, Jul 19, 2011 at 7:06 AM, Dan Walsh wrote:
On Jul 18, 2011, at 10:13 PM, david grossman wrote:
Dear Mr. Walsh,
I think you are referring to the posters designed in the framework of a series of Independence Day Poster exhibitions I organized over the years. The posters were designed especially for the exhibitions and were mostly created by professionals and not students.
Hello Again David,
Thank you for taking the time to respond. I was intrigued by several of your comments and have added mine in blue for ease of reading. This is the exact exhibit I am referring to:
http://www.talgallery.co.il/content2.php?actions=show&id=1812&r_id=627
The text says the posters were created by "students, teachers and others" at Shenkar College so that is why I thought it was more a student-based activity.
Unfortunately, while I still have the posters, they are not available in digital form.
I would add that the content of the posters, designed by Israeli designers as part of what was overwhelmingly an internal debate, have a very different context when viewed by an international (and even regional) audience.
I have had a look at some of the materials in your project (admittedly quite a short look!). And I think that I understand both the potential value and the motivations. I am sure that I am not the first to tell you that the issues in this part of the world are very complicated. (Yes...as in every part of the world.)
There is of course value in collecting materials for academic study - the first stage of which is simple gathering (simple in terms of evaluation, not effort). But I am probably not the first to question the real academic value of merely presenting the materials, one poster next to another, without providing the often uninformed viewer with the deeper and far more complicated background issues. This is especially true when in respect to your suggestion that these materials could well be used as a basis for a study curriculum on Middle Eastern studies.
Hmmmm....I myself see little academic value in "merely presenting the materials, one poster next to another, without providing the often uninformed viewer with the deeper and far more complicated background issues." It is for exactly this reason that my site, and the New Curriculum of which it is a part, has been designed, constructed and reviewed according to the principles and best-practices of, among others, Georgetown University, the National Council of Social Studies and the Middle East Studies Association. If you go through the site, which features almost 1,500 Israeli and Zionist posters (according to Yoram Shamir, the largest online archives in the world) I think you will quickly see that translations are provided in almost every case. It also provides detailed links to relevant elements found in the posters: iconography, publication data, sponsoring organizations, dates, dimensions, related posters and artists bio data and, if available, contact info. These features, modeled on the American Library Association's best-practices advisory, set the PPPA apart from all other sites related to the poster art of the Palestinian-Zionist conflict. Moreover, Israel is the number one country visiting the PPPA (approximately 600/month) and there are scores of Israeli artists, including David Tartakover (who is on the Advisory Board) who regularly send me their posters and who support the PPPA in a variety of ways.
And yes, you are the first person to suggest that my project does not have real academic value. Indeed, just last week several Israeli educators wrote welcoming me to include all the posters their students had done in some recent contests and classes. As to your comment that "without providing the often uninformed viewer with the deeper and far more complicated background issues". I am in the process now of adding an "auto-fill" page that will allow these Israeli students (and also all other artists) to take control of the data process and fill out their PPPA pages with their info, links, Artists' Statements, etc. Once completed the PPPA will host these Israeli exhibits in their entirety. The question of context is central to the PPPA's identity and it sets it apart from all other Israeli/Palestinian poster sites, including that of the CZA (which has just disappeared from the internet). Another indication of how well-received the PPPA is in Israel is reflected in the fact that all the Hebrew translations/contextualization is provided to me free-of-charge by several extremely well qualified retired Israeli educators and graphic designers. It is a source of great satisfaction to me that so many Israeli artists, educators, researchers and journalists support, and use, the PPPA.
If asked, I would probably identify myself as more to the left than the right (to put it mildly), and I believe my public record would support that. However I have to tell you that reviewing the structure, contents and language of your site made me uncomfortable in terms of a fair representation of the issues.
It seems you have politicized an educational/cultural resource that is very specifically and very deliberately NOT either of the left or the right. If you felt uncomfortable perhaps you can elaborate on that? What specifically made you uncomfortable? What, specifically, is "not fair" about the PPPA? Your answers might allow me to make the site better.
At Georgetown the core ethical principle at the heart of the school's identity is that its scholars are free to "ask any question" and that the only possible response to friction over debate/discourse is "more discourse". It seems to me, and I will be delighted to be wrong on this, that your personal politics have caused you to demur from my invitation. It seems to me that, because you are somehow "uncomfortable", 171 Israeli artists will not have their works seen, discussed, appreciated, critiqued, etc. at a site specifically dedicated to leveraging just exactly the art form they chose. It seems to me that the opportunity for them to have their thoughts, ideas and concerns shared on a global basis should outweigh any personal biases, yours or mine. IMHO those 171 Israeli works should rightly be included (or at least considered for inclusion and the artists given the option to participate or not) and the opportunity for the artists to contextualize them themselves be presented. I do not judge posters. I do not weigh them and consider whether or not they strengthen or weaken some position: that is the role of a censor.
I am an archivist: I ARCHIVE the posters and contextualize them to the best of my own and my circle of collaborators abilities.
I thank you for writing and I look forward to hearing back from you.
Best,
Dan
Good luck with your thesis....and perhaps it would be appropriate to include this comment in your research notes!
David Grossman
On Tue, Jul 19, 2011 at 3:58 AM, Dan Walsh wrote:
Hello David,
My name is Dan Walsh and I am finishing work on my master's thesis project at Georgetown which is a website with 5,000 posters related to Palestine/Israel:
http://www.palestineposterproject.org/
I am writing to see if it would be possible to add to the PPPA all 171 posters that were created by Israeli art students for the show you curated at Tal Gallery several years ago? (I am not exactly sure when that took place)
Of the few posters I have seen from that show a good number were very pedagogical and outspoken and it is my idea to present them en toto as their own Special Collection at the PPPA. I don't know anything about the agreements with the artists but of course I would add their web sites and they can each prepare and submit an Artists' Statement if they want to contextualize their works. Many are still completely valid.
I hope to hear from you.
Dan Walsh
--
David Grossman
president
israel community of designers
www.israel-designers.org
www.designed-in-israel.com
co-chairman
israel design works
www.idwchina.com
e: davgro1@gmail.com
c(israel): +972 (0) 544 321098
c(china): +86 158 1878 9528
f: +972 (0) 3 5100396
www.daedalos.co.il
www.linkedin.com/in/davgro
Disclaimer:
The information contained in this message or any of its attachments may be
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accept liability for any errors or omissions.
--
David Grossman
president
israel community of designers
www.israel-designers.org
www.designed-in-israel.com
co-chairman
israel design works
www.idwchina.com
e: davgro1@gmail.com
c(israel): +972 (0) 544 321098
c(china): +86 158 1878 9528
f: +972 (0) 3 5100396
www.daedalos.co.il
www.linkedin.com/in/davgro
Disclaimer:
The information contained in this message or any of its attachments may be
privileged and confidential and intended for the exclusive use of the
addressee. If you are not the intended recipient, any
disclosure, reproduction, distribution or other dissemination or use of this
communication is strictly prohibited. If you have received this
transmission in error, please notify the sender by return e-mail and remove
it and all copies from your system. Internet communications cannot be
guaranteed to be timely, secure, error or virus-free. The sender does not
accept liability for any errors or omissions.
Begin forwarded message:
From: david grossman
Date: July 18, 2011 10:13:40 PM EDT
To: Dan Walsh
Subject: Re: Georgetown University student with research question for David Grossman...
Dear Mr. Walsh,
I think you are referring to the posters designed in the framework of a series of Independence Day Poster exhibitions I organized over the years. The posters were designed especially for the exhibitions and were mostly created by professionals and not students.
Unfortunately, while I still have the posters, they are not available in digital form.
I would add that the content of the posters, designed by Israeli designers as part of what was overwhelmingly an internal debate, have a very different context when viewed by an international (and even regional) audience.
I have had a look at some of the materials in your project (admittedly quite a short look!). And I think that I understand both the potential value and the motivations. I am sure that I am not the first to tell you that the issues in this part of the world are very complicated. (Yes...as in every part of the world.)
There is of course value in collecting materials for academic study - the first stage of which is simple gathering (simple in terms of evaluation, not effort). But I am probably not the first to question the real academic value of merely presenting the materials, one poster next to another, without providing the often uninformed viewer with the deeper and far more complicated background issues. This is especially true when in respect to your suggestion that these materials could well be used as a basis for a study curriculum on Middle Eastern studies.
If asked, I would probably identify myself as more to the left than the right (to put it mildly), and I believe my public record would support that. However I have to tell you that reviewing the structure, contents and language of your site made me uncomfortable in terms of a fair representation of the issues.
Good luck with your thesis....and perhaps it would be appropriate to include this comment in your research notes!
David Grossman
On Tue, Jul 19, 2011 at 3:58 AM, Dan Walsh wrote:
Hello David,
My name is Dan Walsh and I am finishing work on my master's thesis project at Georgetown which is a website with 5,000 posters related to Palestine/Israel:
http://www.palestineposterproject.org/
I am writing to see if it would be possible to add to the PPPA all 171 posters that were created by Israeli art students for the show you curated at Tal Gallery several years ago? (I am not exactly sure when that took place)
Of the few posters I have seen from that show a good number were very pedagogical and outspoken and it is my idea to present them en toto as their own Special Collection at the PPPA. I don't know anything about the agreements with the artists but of course I would add their web sites and they can each prepare and submit an Artists' Statement if they want to contextualize their works. Many are still completely valid.
I hope to hear from you.
Dan Walsh
--
David Grossman
president
israel community of designers
www.israel-designers.org
www.designed-in-israel.com
co-chairman
israel design works
www.idwchina.com
e: davgro1@gmail.com
c(israel): +972 (0) 544 321098
c(china): +86 158 1878 9528
f: +972 (0) 3 5100396
www.daedalos.co.il
www.linkedin.com/in/davgro
Disclaimer:
The information contained in this message or any of its attachments may be
privileged and confidential and intended for the exclusive use of the
addressee. If you are not the intended recipient, any
disclosure, reproduction, distribution or other dissemination or use of this
communication is strictly prohibited. If you have received this
transmission in error, please notify the sender by return e-mail and remove
it and all copies from your system. Internet communications cannot be
guaranteed to be timely, secure, error or virus-free. The sender does not
accept liability for any errors or omissions.
http://www.icograda.org/members/members/member_list221.htmDAVID GROSSMAN
David is currently President of the Israel Community of Designers. Between 2000 and 2007, he was Chairman of the Vital Department of Graphic Design, Shenkar College of Engineering and Design, Ramat Gan, Israel. Born in the United States, he studied design in Jerusalem, and subsequently worked as a designer in Amsterdam, New York and Tel Aviv in specialty areas such as audio-visual design and environmental graphic design. He is a partner in D+D Ltd. of Tel Aviv. David co-established the annual FestiVital design event in 1995. He serves as a juror in international competitions and is a frequent presenter at international conferences.
David served on the Icograda Board as treasurer (1995-1997), president-elect (1997-1999), president (1999-2001) and past-president (2001-2003).
Question about past exhibit
Dan Walsh
7/15/11
to ady
Dear Tal Gallery,
I would like to create a Special Collection at my web site:
http://www.palestineposterproject.org/
for one of Tal Gallery's past exhibit:
Past Exhibitions
Israel Independence Day Posters
56 57 58
Israel Independence Day Posters
An exhibition in cooperation with Shenkar College of Engineering and Design/ Graphic Design Department
During the last three years the Graphic Design Department at Shenkar College, engaged in a project of posters design by students, teachers and other well known designers. The exhibition at Tal Gallery shows 42 representative posters out of 171 at all. Most posters deal with the political situation of Israel, sending a message of the perception of Israel by the young generation represented by the young designers.
We thank David Grossman, head of Graphic designer Department at Shenkar , initiator and producer of the project, and the designers who brought us the posters.
Does this important exhibit (all 171 posters) exist anywhere online?
Thank you,
Dan Walshhttp://www.shenkar.ac.il/events/events.aspx?eventsId=42
58X58
25/04/2006
את הכרזות ניתן לראות ב: www.nrg.co.il/58X58
זו שנה שלישית שהמחלקה לעיצוב גרפי בשנקר, ביה"ס הגבוה להנדסה ולעיצוב, מארגנת תערוכת כרזות ליום העצמאות.
כרזה של מורן ברק
בתקופה של תקשורת חזותית דינאמית, המבוססת על מיתוג, טלוויזיה ואינטרנט, התפקיד המסורתי של הכרזה כמדד יכולות של המעצב הגרפי המקצועי איבדה ממעמדה. למרות זאת, היכולות הדרושות ליצירת כרזה טובה ממשיכות לשקף את תמצית המיומנות של אנשי מקצוע בתחומי התקשורת החזותית – עיבוד טקסט ודימוי, שליטה בצבע וקומפוזיציה והבנה בקונטקסט תרבותי. בהתחשב בהזדמנויות המעטות לעיצוב כרזות, מקווה המחלקה לעיצוב גרפי בשנקר לספק למעצבים הגרפים הישראלים הזדמנות נוספת להצגת יכולותיהם ולביטוי השקפותיהם.
תערוכת 56X56, לפני שנתיים, התאפיינה בעובדה שכל 56 הכרזות שיקפו אמירות פסימיות על הסביבה הפוליטית והחברתית. עוצמת האמירות השליליות משכה תשומת לב רבה וביקורת במדיה.
בתערוכת 57X57, בשנה שעברה, התייחסו המעצבים אל תהליך השלום וההתנתקות. בלטו אמירות הקשורות למתחים פנימיים שבאו לידי ביטוי בהתייחסות למפות, היפרדות והתפרקות המרקם הגיאוגרפי של המדינה. מספר רב של כרזות התייחסו לנושאים חברתיים פנימיים ולגל הצרכנות השוטף בשנים האחרונות את החברה והתרבות הישראלית.
השנה, בנוסף להתייחסות הצפויה לאירועים הפולטים, ניתן היה לזהות התייחסות למצבו של האזרח הקטן בסביבה המשתנה ולפעמים אף מאיימת, בקונטקסט חברתי, תקשורתי ואפילו טכנולוגי.
בתערוכה הוצגו כרזות של סטודנטים, בוגרים ומרצים מהמחלקה שהוזמנו להשתתף בתערוכה. העבודות של הסטודנטים עוצבו במסגרת קורס בהנחיית המרצים להב הלוי וגיא שגיא.
שנקר ביה"ס הגבוה להנדסה ולעיצוב – המחלקה לעיצוב גרפי
ראש המחלקה
דוד גרוסמן
אחראית ל פרויקטים מיוחדים
מירב קריב
חסויות ויחסי ציבור איה זינדל - ריין
עיצוב שחר חמו ורועי ברון
סיוע אדמיניסטרטיבי אורלי פז
האירוע התקיים בשיתוף פעולה עם: המישלמה ליפו – עיריית תל-אביב יפו, העיר – רשת שוקן, NRG וצילוגרף.
תודות
פרופ' אמוץ וינברג, ברוך שגיב, ורדה קלמר, יוסי אלקלעי, איתן נשר וצוות ההקמה
כל הזכויות שמורות למעצבים
קשר: graphicdesign@shenkar.ac.il
כרזות נוספות:
The third year Graphic Design Department at Shenkar School of Engineering and Design, is organizing an exhibition of posters for Independence Day.
Moran's banner Barack
Period of dynamic visual communication, based on branding, television and Internet, the traditional role of the declaration as a measure of the capabilities of the professional graphic designer has lost its status. However, the capabilities needed to create a good poster continue to reflect the essence of the skills of professionals in the visual media - text and image processing, color and composition control and understanding of cultural context. Given the few opportunities to design posters, graphic design department hopes Shenkar Israeli graphs provide designers the opportunity to display their abilities and to express their views.
56X56 exhibition two years ago, was characterized by the fact that all 56 posters comments reflected pessimism about the political and social environment. Intensity of the negative statements attracted great attention and criticism in the media.
57X57 exhibition last year, the designers referred to the peace process and disengagement. Were statements relating to internal tensions were manifested in relation to maps, separation and dissolution of the state's geographic pattern. A large number of posters related to internal social issues and the current wave of consumerism in recent years the Israeli society and culture.
This year, in addition to addressing the anticipated events emit, it was possible to identify a reference state of the citizen in a changing environment and sometimes even threatening, social context, media and even technology.
On display were posters of students, graduates and lecturers from the Department were invited to participate in the exhibition. The work of students in a course designed under the guidance of lecturers Lahav Halevy and Guy Sagi.
Shenkar School of Engineering and Design - Graphic Design Department
Head of Department
David Grossman
Responsible for special projects
Most Kariv
Sponsorships and public relations Aya Zindel - Rain
Design Shahar Hemo and Roy Baron
Administrative assistance Orly Paz
The event was held in collaboration with: Hmislmh Jaffa - Tel Aviv - Jaffa, the city - Schocken, NRG and Tzilogrf.
Thanks
Prof. Amotz Weinberg, thank Sagiv, Varda Kalmar, Joseph Alcalay, with an eagle and the construction team
Copyright designers
Contact: graphicdesign@shenkar.ac.il
Other banners;מיכל רולנד