Vee Hua 華婷婷
Jerzy Flisak – “Gang Olsena Na Szlaku (The Olsen Gang)” (1976)
In this comparative interview, we speak with two creative studios — Eye Sea Posters, based in the United Kingdom and dedicated to poster archiving and reselling, and The Affiche Studio, which is based in the United States and dedicated to poster restoration — on just what makes Polish posters so compelling.
Jacek Neugebauer – “Gwiazdy Egeru” (1969)
James Dyer of Eye Sea Posters
Jason Leonard of The Affiche Studio
What initially drew your company to these posters?
Polish posters produced under Communism are really distinctive because during that time the film industry was controlled by the state and most foreign promotional material was rejected and replacements were commissioned.
Established Polish artists were asked to convey the essence of the film in their poster designs and unlike their Western counterparts, the use of film stills or photos of the film’s stars wasn’t necessary, and this lead to some amazing and often abstract art being pasted on the streets of Poland.
I’ve been collecting these posters for a while now, and started selling a few here and there to help fund the collection. Eye Sea grew out of that, and I started the website in 2011.
When I first started doing poster restoration, the Polish images that were coming in always stood out to me. Over time, I started collecting them on my own. I’m really drawn to the surrealist imagery, design, and historical significance of the Polish poster.
Can you recall a specific or initial moment when viewing these works made a memorable impact on you?
Around 10 years ago, someone sent me a postcard with a Polish poster on it. It was the “Seksolatki” poster by Maciej Zbikowski; I was instantly hooked and I’ve been a fan ever since.
I remember unrolling a package from a client which had a bunch of newer posters by the artist Wieslaw Walkuski, and I was immediately drawn in.
How do you locate the posters for sale?
They come from various sources: old cinemas, flea markets, auctions etc. We hunt high and low for them. I’ve got a good friend in Poland who helps me out, and without him it would be very difficult.
I’ve collected through various avenues, sometimes finding things online and sometimes through clients.
Given that some of your posters are no doubt gone once you sell them, how does that change the way you value or appreciate them?
As they become increasingly hard to find, it becomes harder to put a price on them and harder to part with them. It can take a long time to find a poster so sometimes I’m reluctant to sell one because I might not find another one. There’s a few I regret selling but I have to remind myself I don’t have much wallspace and there’s no point in them sitting in a box gathering dust where nobody can see them.
I’ve been collecting for years now, occasionally selling things here and there. It’s interesting, because when I search for things to collect, I’m generally buying things I really admire. So sometimes selling is rough when I get attached to a certain poster. Sometimes I’ll look for multiple copies of things I really love so I can keep one!
James Dyer (Eye Sea Posters):
As well as the artwork it’s the quality of the printing, the paper stock and the natural aging process that makes these posters great and that’s not something easily reproduced. Poster restorers do an important job because they help to preserve a piece of history.
Jason Leonard (The Affiche Studio):
Linen-backing is an archival mounting of a poster. After the mounting, we go in and do restoration, which could be patching in missing sections and color restoration. Depending on the work needed, it takes usually a couple weeks in the studio, as we work on many pieces at the same time. The process is an old one, but was transformed a bit in the ’70s. There are many steps along the way that have to be performed with a detailed artistic eye. It’s a very hands-on procedure, preserving the original poster.
How does one go about identifying a particular work or artist? How easy or difficult is this process, and what resources do you use?
There’s various ways to identify a poster. The serial number and logos on it. The artist’s signature is usually printed on it. I also use various books, catalogues and the internet, and if all else fails, I phone a friend in Poland.
We have a couple clients with great websites, www.theartofposter.com and www.contemporaryposters.com
Alison Smith
Jackie Moffitt
Thuc Doan Nguyen
![Sweetheart Deal @SweetheartDealMovie, a cinéma vérité-style documentary from local filmmaker Elisa Levine @ElisaLevine99, follows the trajectories of four sex workers on Aurora, and eschews feverish commentary in favor of unvarnished truths...
Sweetheart Deal‘s four subjects — Krista (formerly Amy), Kristine, Sara, and Tammy — brim with wry humor and startling honesty about “being dopesick” and “turning tricks.” In the decade or so of filming between 2011 and 2021, they splinter off then reconnect, make amends and give apologies, all while being pulled relentlessly back into Aurora’s undertow. Each cycles in and out of Elliott’s RV, gradually shifting from casual acquaintances to close friends.
“Everybody who’s out there on Aurora: you don’t know what their background is,” says Levine, who felt it was important to highlight the disparate backgrounds of these women, but also their solidarity and similarity. “They could come from a family of millionaires or they could come from a life of poverty. Once you get out there, [with] the intensity of what you have to deal with every day, just trying to survive there — everybody’s on an equal playing field. Nobody cares where anybody else came from. So that was something that was surprising and interesting and sad. Even people who came from a better-off background and had more opportunities to go into rehab more times and things like that over the years — they still very often fall back into the addiction.”
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READ THE INTERVIEW
w/ Director Elisa Levine
by Alison J. Smith @alison.j.smith:
https://bit.ly/redefinesweetheart
Initially viewed at @SIFFnews
#SeattleFilm #REDEFINEmagazine #REDEFINEmag #FilmReview #FilmReviews #SeattleFilms #SeattleFilmmaker #SeattleFilmmakers #FilmJournalism #DirectorInterview #ElisaLevine #SweetheartDeal #AuroraAve #AuroraAvenue #Streetwise #DocumentaryFilm #DocumentaryFilms #GabrielMiller #CinemaVerite #Highway99](https://scontent-atl3-2.cdninstagram.com/v/t51.29350-15/280151906_381199520608193_6699221920708279913_n.webp?stp=dst-jpg&_nc_cat=104&ccb=1-7&_nc_sid=8ae9d6&_nc_ohc=YRvMPdvwabEAX9nNnfN&_nc_ht=scontent-atl3-2.cdninstagram.com&edm=AL-3X8kEAAAA&oh=00_AT9Phzd_KjhkwEQLEBtwNrtyiG3emYQ4iWbSlX1csJEGyg&oe=629532DF)
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By the end of the night, multi-faceted Australian musician Genesis Owusu and his three back-up “goons” will have brought the entire audience at Philadelphia’s @UndergroundArts venue through an emotional journey of darkness and lightness, exploring themes found throughout his 2021 concept-heavy record, Smiling With No Teeth. The album’s main narrative centers around two symbolic characters known as the “black dogs,” which are referenced in almost every track. The internal black dog represents depression; the external black dog represents racism.
“[Smiling with No Teeth] is a very personal project for me… it’s a relaying of rage, sorrow, happiness, joy, hopefulness… For the longest time, Black people, especially, have been wronged and then expected to be the bigger person, and then expected to be the educators for the people who just wronged them. [Your] feelings of rage are then invalidated. You’re made to feel hysterical or paranoid… so this is moreso an intention and a statement of those raw feelings, whether logical or not.” - Genesis Owusu
READ THE REVIEW:
http://bit.ly/redefinegenesislive
RED OUR INTERVIEW W/ OWUSU:
http://bit.ly/redefinegenesis
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REMAINING TOUR DATES
(don't miss this rare opportunity)
4/10 - Terminal West - Atlanta, GA
4/12 - Basement East - Nashville, TN
4/14 - Antone's - Austin, TX
#REDEFINEmagazine #MusicJournalism #MusicWriting #MusicReview #LiveShowReview #LiveShowReviews #MusicVideos #AustralianMusician #AustralianMusicians #SmilingWithNoTeeth #BlackDogs #Colonialism #Racism #PopMusic #Soul #RNB #R&B #DanceMusic #GenesisOwusu #Goons @Ourness @HouseAnxiety](https://scontent-atl3-2.cdninstagram.com/v/t51.2885-15/277973179_354611006721297_4579906513960108085_n.jpg?_nc_cat=105&ccb=1-7&_nc_sid=8ae9d6&_nc_ohc=0SEQKJHlilMAX_1KUVG&_nc_ht=scontent-atl3-2.cdninstagram.com&edm=AL-3X8kEAAAA&oh=00_AT9AU4F1Jqfc54R-mB44EquoGr6RC3wXv24T29YFn8QnKA&oe=6295ED76)
![The Growth Eternal's PARASAiL-18, is out now! Read the new interview by Vee Hua @hellomynameisvee -- https://bit.ly/redefinegrowth
On its surface, PARASAiL-18, the 2022 full-length from experimental solo musician @TheGrowthEternal, comes across as a smooth, harmonious, and vocoder-laden electronic offering. Beneath its surface, however, one finds a challenging, highly-personal record that came from years of introspection and escape from challenging life circumstances — though the journey ultimately has a positive ending. It resolves in the type of self-aware expansiveness that the project’s name might suggest.
Originally from Tulsa, Byron Crenshaw relocated to Los Angeles in 2019 and immediately connected with the community-oriented record label @LeavingRecords, who would go on to release PARASAiL-18. Yet life hasn’t always felt so smooth or aligned. He first began working on the record in 2018, when he was studying jazz at a Texas college and feeling massively conflicted that the institution’s approach to jazz varied significantly from his own.
“My initial exposure to jazz before that was very much organic and vocalized and a lot of time mentorship-focused, which is basically the dynamic of jazz traditionally and how it was,” notes Crenshaw. “It was really conflicting when I knew I was passionate about this enough to put my life into it, and then I get to a space where… [due to the] the academic culture behind [the college] and how they viewed and positioned jazz in the curriculum, I felt marginal…”
This marginalization, however, had a bright side; it allowed Crenshaw to connect to the historically Black artform in a deep way that he had never experienced before, as well as find his personal connection to it.
“It felt like one of those things where I didn’t really conceptualize it a lot of the time, but… it felt like a natural falling into,” he says.
READ THE FULL INTERVIEW:
https://bit.ly/redefinegrowth
#TheGrowthEternal #LeavingRecords #ExperimentalMusic #ElectronicMusic #REDEFINEmag #REDEFINEMagazine #MusicJournalism #MusicWriting #MusicReview #MusicReviews #MusicInterviews #BlackMusic #MusicWriter #ExperimentalElectronic #Jazz #Electronic](https://scontent-atl3-2.cdninstagram.com/v/t51.29350-15/278093628_353901813341512_8927193726196441923_n.webp?stp=dst-jpg&_nc_cat=101&ccb=1-7&_nc_sid=8ae9d6&_nc_ohc=XdBK3Wse4sIAX_nzvhb&_nc_ht=scontent-atl3-2.cdninstagram.com&edm=AL-3X8kEAAAA&oh=00_AT9ExpCF6yekwPaRPW4NkDpg9krOBRvfkqdu4rV-lEhs5Q&oe=6295D1FA)