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Günther Kieser is one of Germany’s best important clear designers—he was the go-to man for music posters in the 1960s, from Jimi Hendrix to the Grateful Dead and The Who. The retired, 86-year-old artist has never had a retrospective, until now. “Kieser, Posters” afresh opened at the Bröhan Museum in Berlin and runs until July 23.

Jimi Hendrix Experience Tournee, Lippmann & Rau Concerts, 1969 © Günther Kieser

Cecil Taylor Free Jazz, 26. Applesauce Anniversary Frankfurt, 1995 © Günther Kieser

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Curated by Tobias Hoffmann, the appearance appearance 30 posters from the 1960s to 1999 in the museum’s Blackbox, a appropriate area adherent to clear architecture and photography. Here, some of Kieser’s best acclaimed music posters are on view, including one of a skull transforming into a dove, which is additionally in the accumulating of the Museum of Modern Art in New York City, and a carve of a “mission impossible,” multi-pipe tuba.

Jazz Head, Frankfurter Applesauce Festival, 2000 © Günther Kieser

He aboriginal started out belief at the Academy of Applied Arts in Offenbach am Main from 1946-1949, again kicked off his career alive as a freelance clear artist for a bounded radio station. In 1953, Kieser started alive with adolescent clear artist Hans Michel and together, they created the Michel Kieser agency, area they formed on several bartering projects, as able-bodied as assuming their cartoon at the Documenta art anniversary in the architecture area aback in 1964.

Grateful Dead, Lippmann & Rau Concerts, 1974 © Günther Kieser

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In what led him to music, Kieser alive for the concert bureau Lippmann Rau, who organized the German Applesauce Anniversary in Frankfurt, which led him to designing posters for Jimi Hendrix, The Who and Miles Davis. He additionally created endless anthology covers for the Blue Note applesauce almanac label, which appear titles from John Coltrane to Ella Fitzgerald.

“Kieser is the best acclaimed German affiche designer, who is accepted for music,” said Hoffmann. “For him, it’s easier to do a affiche for theatre and operas because there is already article beheld to assignment with. But how do anticipate music? This was his problem.”

Warum denn nicht Frieden? Auftrag Fritz Rau, 1982 © Günther Kieser

He managed to accomplish music posters by visualizing the imaginary. “All of his assignment was done afore the agenda revolution,” said Hoffmann. “Everything was fabricated by duke and taken by a acceptable photographer.”

For example, his best acclaimed poster, the one of Jimi Hendrix for a 1969 concert in Germany, was fabricated with black affairs set into a account of the musician, while his Frankfurt Applesauce Anniversary affiche from 1995 has dismantled piano keys abiding in a way to spell a blowzy letter “S.”

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Ella Fitzgerald, Norman Granz, Applesauce at the Philharmonic, 1959 © Günther Kieser

Jazz Anniversary Frankfurt, 1994 © Günther Kieser

Dolls were distinctively handcrafted for his Grateful Dead affiche from 1974 and his Fleetwood Mac affiche from 1977. “In the ambience of German clear design, he is one of the best popular,” said Hoffmann. “His way of fantasy is his specialty with the picture. Kieser absolutely hates words on his images, so he consistently puts the typography abroad from the picture, which is the best important thing.”

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Most of the posters accept words accounting appropriate at the actual top or marginalized at the actual bottom. Like on his Applesauce Fest Berlin affiche from 1991, all the words are in the adumbration of one axial agreeable apparatus on a rose-colored background.

“It’s abundant easier with agenda design,” said Hoffmann. “It was all done after a computer; abounding bodies are surprised. But it was a acceptable affair because this fabricated him added creative, you accept to be added daring.”

Newcomers in Jazz, 16. Applesauce Anniversary Frankfurt, 1978, © Günther Kieser

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Charles Minus Epitaph, Gunther Schuller, Applesauce Fest Berlin 1991 © Günther Kieser

The posters on appearance are all bound edition, as alone 300 posters were printed per angel and Kieser still doesn’t accept all of the posters. Some came on accommodation from clandestine collections to appearance in this exhibition.

But this clear artist could never accept done iconic posters for consciousness-expanding bedrock if he didn’t alpha by admiring the music first. “I don’t anticipate he would do a affiche for a affectionate of music he doesn’t like,” said Hoffmann. “I asked him how he starts designing and he said he consistently listens to music every day, all day, and that he has to accept to the music afore designing for it. And from the music, the angel comes.”

Some things never change and Kieser is still appealing old school. “He doesn’t alike accept an email address,” said Hoffmann. “He says ‘If you appetite to acquaintance me, aloof alarm me.’”

“Kieser, Posters” runs until July 23, 2017 at the Bröhan Museum in Berlin. Broehan-museum.de.

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