Poster Offensive 1&2 catalog

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Originally published in conjunction with Poster

Offensive. Organized by Spunk Design Machine,

and Frank Stone Gallery Minneapolis, Friday

February 27th – Sunday February 29th, 2004.

Reproduced by Poster Offensive in 2010 in

celebration of a new website.

Poster Offensive 2004 Curators:

Lynn Stone, Frank Stone, Ben Pagel, Steve Jockisch,

and Mickey Smith.

Design: Spunk Design Machine

(www.spkdm.com)

Photography: David Bowman

([email protected])

Editor: Spunk Design Machine

(www.spkdm.com)

Second Edition Modifications: Poster Offensive

(www.posteroffensive.com)

Second Edition 2010 Poster Offensive. This work

is licensed under the Creatve Commons Attribution

Noncommercial No Derivative Works 3.0 United

States License. To view a copy of this license, visit

(http://creativecommons.org/licenses/by-nc-

nd/3.0/us/) or send a letter to Creative Commons,

171 Second Street, Suite 300, San Francisco,

California, 94105, USA. No part of this book may

be reproduced or utilized in any form or any

means—electronic or mechanical, including

photocopying, recording, or by any information

storage and retrieval system—without expressed

written consent of David Bowman, 4720 South

Lyndale Avenue Minneapolis, MN 55409

([email protected]) Poster Offensive,

253 East 4th Street, St Paul, MN 55101

([email protected]) and Spunk Design

Machine, 4933 South 34th Avenue Minneapolis,

MN 55417 ([email protected]). With the exception

of the poster index in the back of the book (pages

41-84). These images can be photo copied and

used for posting. Please do not sell these images or

use them for financial gain.

Printed and bound by Lulu.com.

Purchase a copy at (Lulu.com/posteroffensive1&2).

Visit us at (posteroffensive.com)

Introduction by Ben Pagel

Poster Photograph Introduction by David Bowman

Poster Photographs by David Bowman & Artist’s Statements

The Numbers by Jeff Johnson

George W. Bush is a Big Dummy by Sarah Nelson

Monster by Ben Pagel & Steve Jockisch

Open House by Chad Haggen

Lick Bush by Anchalee Chambundabongse

True Hollywood Stories by Chank Diesel

Inculcate by Matthew Larson

Untitled by Jack Wilcox

Thug Bully by Chank Diesel

You Won’t Even Read This by Jason Walzer & Andrea Floren

Thank You Mr. Bush by Katie Kirk

Foriegn Policy by Aaron Pollock

George W. Bush Says by Dan Ibarra & Michael Byzewski

Release The Peace by Kelly Munson

Hey Kids by Bill Tuomala

Shut Up & Vote by Bill Moran

Spectator by Mickey Smith

The War Series by Craig Duffney

Them by Todd Bartz

Poster Index | PO 1&2

The Numbers by Jeff Johnson

George W. Bush is a Big Dummy by Sarah Nelson

Monster by Ben Pagel & Steve Jockisch

Open House by Chad Haggen

Lick Bush by Anchalee Chambundabongse

True Hollywood Stories by Chank Diesel

Inculcate by Matthew Larson

Untitled by Jack Wilcox

Thug Bully by Chank Diesel

You Won’t Even Read This by Jason Walzer & Andrea Floren

Thank You Mr. Bush by Katie Kirk

Foriegn Policy by Aaron Pollock

George W. Bush Says by Dan Ibarra & Michael Byzewski

Release The Peace by Kelly Munson

Hey Kids by Bill Tuomala

Shut Up & Vote by Bill Moran

Spectator by Mickey Smith

The War Series by Craig Duffney

Them by Todd Bartz

Peace Kills by Jason Strong

Mother by Anchalee Chambundabongse

Oil by Nathan Strandberg

Man In Black by Jeffrey Johnson

Small World by Hilary Davis & Paula Maki

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Let’s Take It Back by Adam Turman

Uncle by Chad Hagen

Save Our State by Jarrod Riddle

Tea Party by Katie Kirk

My Body Is My Business by Haley Johnson

Fossil Fools by Bill Moran

Business Commentary by Sharon Werner

Prison Machine by Justin Martinez and Ben Pagel

Liberal by Patrick Maun

Lick Bush 2004 by Sarah Nelson

Patriot Acting by Aaron Pollack

Cocaine: Alive With Pleasure by Chank Diesel and

Amy Jo Hendrickson

People Hate You by Todd Bartz

Star Tribune by We Work For Them

Freedom, Liberty, Fear, Power by John Reichel

Home-Sweet-Homeland Security by Andrea Foren,

Robb Harskamp, John Neerland

Why They Hate Us by Kelly Munson

Power by Steve Jockisch

Grand Old Party by the Decoder Ring Concern

WMF? by Aesthetic Apparatus

PO1 poster by Steve Jockisch

PO2 poster by Steve Jockisch

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Introduction

By Ben Pagel

Edited by John Cords

Armed with creativity and urgency a small group of

artists set out to forge another inroad on the long

and often humbling path to America’s reclamation

of awareness. The weekend of February 27th, 2004,

the Poster Offensive was staged at Frank Stone

Gallery in Minneapolis, Minnesota. Participants

from Minnesota’s vibrant design landscape were

invited to employ the poster medium as an arena

for expressing a piece of contemporary political

sentiment. The poster was chosen as the medium

primarily for its inclusive nature. The political poster

has long been used as a vehicle to communicate to

a wide range of people, especially during times of

peril. It is an accessible popular artifact doubling as

a beautiful means to direct attention to a cause. A

poster is meaningless without context. By definition,

it needs to be posted. Thus a poster show was born.

The Poster Offensive was both a forum for voices

and a site for action. In both cases, the catalyst was

the artists’ interpretations of the current political

and social landscape, manifested in their creative

visions. The participatory action in this case grew

out of a profound sense of duty or responsibility to

defend and employ the rights we share as

Americans and as human beings. If there was a

common denominator among all the posters

chosen for the show, it was the artists’ unswerving

invocation of the right to freedom of speech, a right

that must be defended more than ever in the age of

Bush, Cheney, Rumsfeld, and the Patriot Act. So

this was an opportunity for artists to take action

with their voices and make a statement during a

very critical time in American history—or world

history for that matter—and create on their own

terms with the tools, means, and skills they have at

their disposal through the politically potent medium

of the poster.

Not only was the Poster Offensive designed to offer

the invited artists an opportunity to convey a critical

political message, but it also was a chance to make

a positive statement during an obsessively negative

time. The most definitive sentiment of these

twenty-one artists is a profound sense of

disconnection from the actions, beliefs, and

rhetoric of our current political administration.

This disconnect is the direct result of the intentional

exclusion of voices of dissent from current political

debate and many forms of the popular media.

Yet the show attempted to transcend mere

discontent to embrace the ideal of complete

inclusion. This show, therefore, had a progressive

agenda that revealed both dissent and ways to

escape the dead-end of political despair. It is our

hope that this book represents this ideal.

The photos of the posters included in this book

were shot within a context indicative of the theme or

feel of each individual piece. However, in choosing

settings for the posters, we were careful to not let

the contexts determine or constrict the range of

viewers’ interpretations or responses. The settings

were intended to place the works firmly within the

realm of the familiar and the everyday, in order to

link them with lived experience, yet we also—

perhaps paradoxically—wanted the contexts to

defamiliarize what we all tend to take for granted; in

other words, part of the goal was to both implicitly

critique the banality of the television or boardroom

(for example), and to shock us into the realization

of how rare true political dissent is, particularly

encapsulated in an aesthetically pleasing form.

There is seemingly an endless list of reasons why

the Poster Offensive is important now: the situation

in Afghanistan and Iraq, the battle over gay

marriage, the unemployment rate, the oppressive

nature of American foreign policy, biased and

commodified media sources—the list could go on

indefinitely. Whatever the reasons may have been,

the most important fact is that the poster show

did happen.

Art has an illustrious history as one of the means to

resist war, to critique the powers-that-be, and to stir

minds. Whether one agrees or disagrees with the

political stances of these posters—the show and the

book—will have done their job if they remind us that

art has the ability to inform, to educate, to spark

imagination, and, perhaps most importantly, to

inspire us to act. This is a form of political

expression that both the participants and audience

can actively and readily participate in, and that

simply makes good sense.

I

PhotographyDavid Bowman

The Honeymoon Is Over.

Two big things happened on my honeymoon.

Venice flooded and George W. Bush barely won the

2000 presidential election. Hiding away in our 15th

century Italian hotel, we watched CNN election

coverage until the Adriatic Sea gently rolled in and

knocked out the power.

Back in the states, I worked slowly but steadily

through that first year to build my fledgling

photography business. The economy was still

strong from the prosperity of the Clinton years. I

borrowed money and started getting jobs. Nine

months after our honeymoon, we had a baby.

Everything was great ... for three weeks.

Although it happened a thousand miles from St.

Paul, we couldn’t escape the dread of September

11th, 2001. Things would only get worse. The phone

stopped ringing. It seemed that the world no longer

needed advertising photographers.

Ironically, I found work as a freelance fine art

installer for a local company doing work in

Manhattan, reinstalling artwork at the World

Financial Center, directly across the street from

Ground Zero. From the executive suites on the 55th

floor, we had a view of the Statue of Liberty to one

side, and the crater that used to be the World Trade

Center on the other.

One morning as we worked, an official procession

carried the last piece of World Trade Center out of

the hole. We looked out at the backs of workers

lining the decks below, taking a break, watching the

silent procession stream past.

When I was asked to create photographs for this

book, I knew it was something I’d like to do – as a

Democrat, as a photographer, and as someone who

believes that war equals death.

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PO 1THE POSTERS SITUATIONAL PHOTOGRAPHS

The NumbersJeff Johnson

We need to reclaim our humanity.

Once you dispel the myths and cover stories behind

U.S. Foreign policy, there is a sadness that

overwhelms someone who loves America. And love

it I do. The long, complicated, often bloody and

sometimes grand history of these United States is

worth studying. Upon that, you will inevitably find

that we are a nation of people with a proud and

persistent sense of question. I question this

American empirical policy of oppression and world

dominion. I question it loudly. The tools at my

disposal are graphic design and critical thought.

I believe that we are in the face of, and among the

citizenry inclusive to, this American Empire. We’re

all were born into this Empire, but I firmly believe

we not born to silently accept the murder, rape, and

torture that follow the narrow interests of the

Empire’s rulers. The question, study, and active

resistance of this Empire are, I feel, the purest thing

we can do to reclaim one’s humanity.

2

George W. Bush is a Big Dummy Sarah Nelson

That about sums it up.

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Monster Steve Jockisch & Ben Pagel

We wanted to create something that represented

some of our current observations and feelings:

awkwardness, uncertainty, ugliness, vague and

imprecise rhetoric, misrepresentation of power,

willingness towards aggression, etc.

6

Open House Chad Hagen

“We stand today at a crossroads: One path leads to

despair and utter hopelessness. The other leads to

total extinction. Let us awe have the wisdom to

make the right choice.” — Woody Allen

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Lick Bush Anchalee Chambundabong

When asked to contribute to the Poster Offensive, I

was really excited. I knew I wanted to do something

that reflected my great dislike for the current

administration, but the challenge was to do it in a

way that didn’t just bash and rant. I wanted a strong

message that people would be drawn to.

I was told that during the Bush Sr. election

campaign, someone had made a pin that said “Lick

Bush.” That was it. Now how could I take it a step

further, without being too dirty? Well, here it is.

Thigh-high black leather boots and girly, hand

lettered pubic hair looking typography. And hot

pink, of course.

I think the message of this poster resonates well

with everyone. It voices the call for a change in

leadership and speaks defiantly for women’s rights

at a time when they are being threatened.

10

True Hollywood Stories (George W. Bush)Chank Diesel

I’ve been entranced by cable TV celebrity

documentaries since they started airing on VH1 in

1997. It’s amazing how the life of any old knob with

star status, from Billy Joel to Boy George, can be so

captivating. And so formulaic — without failure, 35

minutes into anybody’s life story, tragedy strikes.

Paying homage to this quasi-biographical style in

the summer of 2002, I created my own True

Hollywood Story/Behind the Music celebrity

portraits. From Ozzy Osbourne and Johnny Cash to

Martha Stewart and President Bush, the soaring

successes and bitter tragedies of our nation’s

luminaries were highlighted in my art, along with

pen-and-ink portraits as best as I could execute them.

A runner-up to the “man in black,” genuine

American hero Johnny Cash, this presidential

portrait was the among the most popular in my

biographical series. The piece really took shape

when I turned my drawing into a poster, using a

subdued American flag as a color backdrop. I

created this piece before I realized how truly evil the

Bush empire was, but even then I found plenty of

faults for fodder. Kinda crazy how the most powerful

man in the world is an irresponsible rich kid who’s

playing president. Is he paying penance for his past

or is he simply Papa Bush’s perfect puppet?

12

InculcateMatthew Larson

Our view of reality is stained with misconceptions.

As we grew through childhood, we learned to see

life that way from our cultural environment. We

absorbed fallacies and artificial assumptions

presented as facts. We were indoctrinated to accept

beliefs as though they described reality, when they

actually distort its perception.

14

UntitledJack Wilcox

The human hand is one of the most unique and

recognizable icons in the world. Even a crude

drawing of its general shape can communicate this

idea. Our hands are literally the most tactile way

that we interact with each other and the rest of the

world. The hand symbol is a timeless, quiet, simple

way to communicate “human” in any language.

The string was tied onto the fingers and initially left

there as a gentle reminder. Now that reminder is

making itself personally and painfully well known.

The “peace” hand sign was prolific in the ‘60s.

This updated version calls upon that same spirit of

humane and self-evident righteous social rebellion.

16

Thug BullyChank Diesel

I’ve been socially brainwashed into liberalism since

my birth in 1969. My parents, my older brothers

and sisters, my artistic and academic peers have all

ingrained in my mind my whole life that it’s wrong

to send young men to far-off countries to die for a

cause they don’t understand. In fact, I suspect I was

born in Canada because my father, a college

professor, moved our family there so my oldest

brother could avoid a trip to Vietnam.

Because I’m aware of my left–leaning genetics, I try

not to be a knee–jerk liberal. I try very hard to see

things from the current administration’s side of the

table, to have a better understanding of what they

might be thinking. Is it possible that they’re acting

in the best interest of the country?

But everything I hear and read and see on TV

convinces me that the current president is a bad

man fronting a bad family leading a good country

into a dumb war for his friends’ and family’s

personal profits.

Hrmph.

My “Thug Bully” poster is a bit heavy handed and

not that far from calling W “President Poopypants,”

but that’s just because the poster is meant to be a

type specimen for the font you see used here which

I designed. It’s called Drunk Cowboy, and it’s

inspired by our King George, an old-school Texas

cowboy, drunk on power.

What a dick!

18

You Probably Won’t Even Read ThisJason Walzer & Andrea Floren

Since the majority of Americans shape their

political perspectives and opinions through popular

media, we decided to create our poster as a

snapshot of newsworthy material for the week of

January 5, 2004. From front-page headlines to

back-page briefs, to make our point, we focused our

delivery as the media focused theirs.

The American mass media are relying more and

more on spectacle, celebrity worship, and the

dumbing-down of content. This primarily satisfies

both the corporate ownership’s agenda as well as

the advertisers, who need to reach a large audience.

The omission, or “burying,” of important

information creates an uninformed and complacent

society. Society needs to demand quality journalism

from a wide range of sources, and not settle for

corporate infotainment.

20

Thank You Mr. BushKatie Kirk

I think that many of us were feeling the same way -

angry and frustrated with the current state of our

country and the political environment within it.

When the chance to participate was offered by

Jeff/Spunk, I thought it was a great opportunity to

voice and vent.

This poster deals with issues including the

environment, education, censorship and war. The

deteriorating top collage works as a unit, entangled

and confusing-overlaying a mocking “thank you,” I

feel that this peice helps describe my day-t-day

frustrations with numberous issues, policies and

officials of this country. Too many times during the

last four years I have screamed at the radio.

22

Foreign Policy Aaron Pollock

My poster explores visually the cultural vacuum that

exists in America, perpetuated by the media and

the government to create a culture of fear, while at

the same time trying to sell the false idea that

everyday America is getting safer and the rest of

the world is not.

The text within the world map was taken from the

U.S. Department of State website:

Worldwide Caution:

The U.S. Government remains deeply concerned

about the security of U.S. citizens overseas. U.S.

citizens are cautioned to maintain a high level of

vigilance, to remain alert and to take appropriate

steps to increase their security awareness. We are

seeing increasing indications that al-Qaeda is

preparing to strike U.S. interests abroad. al-Qaeda

and its associated organizations have struck in the

Middle East in Riyadh, Saudi Arabia and in Europe

in Istanbul, Turkey. We therefore assess that other

geographic locations could be venues for the next

round of attacks. We expect al-Qaeda will strive for

new attacks designed to be more devastating than

the September 11 attack, possibly involving

non-conventional weapons such as chemical or

biological agents. We also cannot rule out that

al-Qaeda will attempt a second catastrophic attack

within the U.S. Terrorist actions may include, but

are not limited to, suicide operations, hijackings,

bombings or kidnappings. These may also involve

commercial aircraft and maritime interests, and

threats to include conventional weapons, such as

explosive devices. Terrorists do not distinguish

between official and civilian targets. These may

include facilities where U.S. citizens and other

foreigners congregate or visit, including residential

areas, clubs, restaurants, places of worship, schools,

hotels, outdoor recreation events or resorts and

beaches. U.S. citizens should remain in a

heightened state of personal security awareness

when attendance at such locations is unavoidable.

U.S. Government facilities worldwide remain at a

heightened state of alert. These facilities may

temporarily close or suspend public services from

time to time to assess their security posture. In

those instances, U.S. embassies and consulates will

make every effort to provide emergency services to

U.S. citizens. Americans abroad are urged to

monitor the local news and maintain contact with

the nearest U.S. embassy or consulate.

24

George W. Bush SaysAesthetic Apparatus

We knew going in that there would probably be a lot

of fairly serious pieces with important messages so

we wanted to do something a little different. We

don’t consider George W. Bush a respectable man

and we didn’t think that what we made should show

any respect to him or his identity. We wanted to

make something as stupid and asinine as we

consider him to be.

26

Release The Peace Kelly Munson

I follow politics religiously and often find myself

utterly frustrated with the decisions our elected

officials are making. Most of my initial concepts

were quite negative and pessimistic in tone; but I

ended up opting for an idea that was much more

hopeful. The idea that government is essentially

human, and therefore inherently good. My poster

illustrates a rather simplistic call to action, that our

role as the last remaining superpower should be one

of stewardship, not destruction.

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Hey Kids Bill Tuomala

With this poster I hoped to help reaffirm Franklin D.

Roosevelt’s stature as the best American president

of the twentieth century. Secondly, I wanted to

remind us that government is capable of doing

great things. And lastly, I had fun poking fun at

Ronald Reagan and the conservative cult(ure) that

attempts to equate him with the likes of FDR.

30

Shut Up & Vote Bill Moran

My motivation for producing this poster was based

on fighting a sense of apathy among eligible voters.

It’s a privilege to live in a participatory democracy

and it doesn’t take much digging to see how many

places in the world where it doesn’t exist. Those

who complain about the state of affairs in this

country, then don’t vote, add insult to injury. It is

this audience that my poster attempts to address.

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Spectator Mickey Smith

These volumes of the London-based magazine,

Spectator, were published in the mid 1970s.

The content of just one weekly column, dated

September 11, 1976, recalls a number of significant

world-wide political events. “Four people were shot

dead in Cape Town. One hundred and twenty

people were killed in a ‘normal day of fighting’ in

Beirut. A KLM jet was hijacked...”

At the time of this exhibition, another Spectator

weekly portrait read, “Four flights from Britain to

America were cancelled for fear of attacks by

al- Qaeda. A Palestinian suicide bomber killed 11

people in Jerusalem. At least 109 people were

killed when suicide bombers attacked the

headquarters of the Kurdish Democratic Party in

northern Iraq…”

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The War Series (1 of 7) Craig Duffney

What’s a neurotic–apocalypse fearing–on an hourly

basis–no time for meeting girls because I need to

tape my windows shut with plastic guy do when the

shit hits the fan?

I cozied up to CNN and started drawing.

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Them Todd Bartz

Hmmmm… What’s a poster? I had to think about

that one for a minute when Spunk asked me to

participate in the Poster Offensive show. A poster

for me would be a substitute for myself. Walking

down the street, at the bus stop, hanging at the

coffee shop. If I were standing there instead of my

poster, what would I say?

I thought about all the “issues” that I could preach

about or the causes that I could draw attention too.

But so many great designers had tackled those

things before.

One thing I thought was common to most problems

and challenges in the world: No one takes

responsibility. The Bush problem, high gas prices,

crime, discrimination, poverty, even things like

traffic and corporate corruption. Everyone blames

someone else.

But it’s not someone else. It’s your neighbor, your

brother or sister, your friend or even yourself. We

elected Bush. We drive gas-guzzling cars. We work

for the corrupt corporations. It’s not “their” fault or

“those people” or “that guy”. We are Them.

Personal responsibility. That would be my cause.

That’s what I…. er, I mean my poster would shout

from the street corners.

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PO 1 & 2POSTER INDEX

The NumbersJeff Johnson

Silk-screen on paper

19" X 25"

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George W. Bush is a Big DummySarah Nelson


18" X 24"

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MonsterSteve Jockisch & Ben Pagel


25" X 19"

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Open HouseChad Hagen


19" X 25"

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Lick BushAnchalee Chambundabongse


16" X 25"

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True Hollywood StoriesChank Diesel

Digital print on paper

12.5" X 19"

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InculcateMatthew Larson


16.5" X 23.5"

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UntitledJack Wilcox


22" X 26"

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Thug BullyChank Diesel

Digital output

12" X 19"

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You Probably Won’t Even Read ThisJason Walzer & Andrea Floren


16" X 22"

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Thank You Mr. BushKatie Kirk


18" X 24"

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Foreign PolicyAaron Pollock

Offset print on paper

19" X 19"

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George W. Bush SaysDan Ibarra & Michael Byzewski


19" X 25"

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Release The PeaceKelly Munson


18" X 24"

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Hey KidsBill Tuomala


19" X 25"

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Shut Up & VoteBill Moran

Woodtype letterpress on paper

15" X 22"

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SpectatorMickey Smith

Offset print on paper

18" X 27"

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The War SeriesCraig Duffney


11" X 17" & 17" X 11"

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ThemTodd Bartz


18" X 24"

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Peace KillsJason Strong


16" X 24"

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MotherAnchalee Chambundabongse


17" X 25"

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OilNathan Strandberg


19" X 25"

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Man In BlackJeffery Johnson


19" X 25"

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Small WorldHilary Davis & Paula Maki


25" X 19"

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Let’s Take It BackAdam Turman


12.5" X 19"

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UncleChad Hagen


19" X 25"

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Save Our StateJarrod Riddle


18" X 14"

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Tea PartyKatie Kirk


19" X 25"

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My Body is my BusinessHaley Johnson

Color transer on a cotton t-shirt

7" X 7.5"

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Fossil FoolsBill Moran

Letterpress on paper

15" X 21"

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Business CommentarySharon Werner

Serigraph on poster board

19" X 25"

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Prison MachineJustin Martinez, Ben Pagel


19" X 25"

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Reclaim the LabelPatrick Maun


16.5" X 23"

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Lick Bush 2004Sarah Nelson


18" X 24"

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Patriot ActingAaron Pollack


18" X 24"

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Cocaine: Alive With PleasureChank Diesel & Amy Jo Hendrickson


18" X 24"

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People Hate YouTodd Bartz

Silk-screen & spray paint on paper

14" X 18"

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Star TribuneWe Work For Them

(Mike Cina & Mike Young)


36" X 48"

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Freedom, Liberty, Fear, PowerJohn Reichel

Offset Lithography

18" X 24"

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Home-Sweet-Homland SecurityAndrea Foren, Robb Harskamp, John Neerland


12" X 18"

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Why They Hate UsKelly Munson


24" X 18"

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PowerSteve Jockisch


19" X 25"

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The Grand Old PartyThe Decoder Ring Concern


26" X 40"

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WMF?Aesthetic Apparatus

Acrylic on manila cardstock

24" X 30"

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Documents

Poster Offensive 1&2 catalog