1) Does the PPPA sell posters?
No. The PPPA never sells any posters or reproductions of posters. The PPPA is a strictly educational site and does not engage in any commercial or merchandising activities whatsoever.
Note: Many, if not most, of the posters featured at this site fall into rare, out-of-print or limited edition categories and are no longer available. Libraries and museums catalog posters as "graphic ephemera" because they are fragile works-on-paper vulnerable to a host of threats such as moisture, direct sunlight, mold, ink-to-paper chemistry and vandalism, among others. As such they usually have very short lives and oftentimes disappear completely soon after being printed.
There are several distributors, such as Resistance Art, CafePress and Sambar Pins who sell Palestine posters and/or Palestine-poster related materials. Palestine posters from the Zionist wellspring can be purchased via auction houses, such as Swann Galleries and Kedem or from specialized dealers such as Farkash Gallery as well as on Ebay. Check the internet for additional sources.
If an artist, for example Doug Minkler, or publisher makes copies of a poster available commercially, or as a free download, the PPPA lists the contact information at the poster's page in Related Links or in a Curator's Note. If there is no link or note this indicates that we do not have any additional information.
2) What is the PPPA's policy regarding the removal of a poster or posters from site?
The PPPA never, for any reason, removes a poster from the site. There are no exceptions to this policy. In several instances we have temporarily unpublished artists' names out of concern for their personal safety.
3) What does the PPPA do with its duplicate posters?
The PPPA donates many of its duplicate Palestine posters to cultural and educational institutions such as the Museum of Design Zurich, Georgetown University and the Center for Palestine Studies at Columbia University. Duplicates are frequently traded with private individuals as well as other archives and libraries.
4) I would like to ask the PPPA a question about a specific poster. What is the best way to go about that?
Always include the complete URL for the poster you want to discuss. The URL, the "uniform resource locator" is the long address at the top of the page that begins with "http:www....".
5) I'd like to contribute a Palestine poster to the PPPA. What is best way to go about that?
The best way to start the process is to send in some in-focus digital images of the poster(s) via the Contact form at the top of the PPPA website. Cell telephone photos are fine for this application.
6) May university presses and other publishers interested in using a poster featured at the PPPA in a book, magazine, scholarly publication or other application write to you with questions about the availability of high resolution files, etc.?
Yes. If the PPPA has an artist's contact information it is usually listed as the first entry under Related Links. We encourage you to write directly to the artist(s)/publishers via those links. If there is no link write to us via the Contact form at the top of the PPPA homepage with your questions.
Note regarding high resolution files: The PPPA does not store, sell or make high resolution files available. Many, but not all, posters featured at the site are available in higher resolution on a fee basis via various commercial outlets. Send us the specific url of the poster(s) you are interested in using and we will advise you as to availability.
The PPPA stipulates that it does not profit from these transactions and plays no role in mediating contracts, fees, copyrights or any other agreements between parties.
7) What are the policies of the PPPA regarding non-commercial, educational use of posters images?
The PPPA operates according to the principles of "fair use".
According to fair use principles, an author may make limited use of another author's work without asking for permission. Fair use is based on the belief that the public is entitled to freely use portions of copyrighted materials for non-commercial educational purposes, commentary and criticism.
If you wish to use a graphic featured at the PPPA for non-commerical/educational purposes (either print or electronic media) we ask that:
1) If known, the artist's full name and nationality, as well as the name of the original publisher and date, be printed just under the image of the poster
2) That "The Palestine Poster Project Archives (PPPA)" be credited in full as the source of the image/info/poster
3) That a review copy of the final printed or electronic document be sent to the PPPA at the time of publication for inclusion in the PPPA website.
Fair use as described at 17 U.S.C. Section 107:
"Notwithstanding the provisions of section 106 and 106A, the fair use of a copyrighted work, including such use by reproduction in copies or phono-records or by any other means specified by that section, for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship, or research, is not an infringement of copyright."
In determining whether the use made of a work in any particular case is fair use the factors to be considered shall include the:
1) Purpose and character of the use, including whether such use is of a commercial nature or is for or nonprofit/educational purposes
2) Nature of the copyrighted work
3) Amount and substantiality of the portion used in relation to the copyrighted work as a whole
4) Effect of the use upon the potential market for or value of the copyrighted work
Some of the ways the PPPA comports with fair use principles:
* Small, low resolution jpegs are used exclusively at the site
* In all cases where known publishers' contact information is provided
* In all cases where known the original artist is credited
* The PPPA never sells any posters or reproductions of posters
* The PPPA does not distort, crop or manipulate (except for size and clarity) any of the posters featured at the site
Note: Most, if not all, of the posters in the Palestine poster genre were originally published as works of "propaganda." As such few, if any, ever carried copyright symbols as this would have inhibited dissemination and worked against the core principles of propaganda. None of the posters at the PPPA feature copyright symbols.
The PPPA stipulates that it does not own, nor does it seek, the copyright to any of the posters featured at this site.
8) What is so important about Palestine posters?
The Palestine poster tradition is an exceptional element of the history of Palestine and a long-overlooked element of its cultural heritage. The posters themselves are important repositories of primary data. They provide a unique lens through which audiences can gain insight into the attitudes and aspirations of people directly involved in the contemporary history of Palestine, as they have experienced it and recorded it in graphic art.
9) What exactly is a “Palestine poster”?
The five-part definition used by the Palestine Poster Project Archives to define a Palestine poster is any poster:
1) With the word “Palestine” in it, in any language, from any source or time period;
2) Created or published by any artist or agency claiming Palestinian nationality or Palestinian participation.
3) Published in the geographical territory of historic Palestine, at any point in history, including contemporary Israel.
4) Published by any source which relates directly to the social, cultural, political, military or economic history of Palestine.
5) Related to Zionism or anti-Zionism in any language, from any source, published after August 31, 1897.
10) Does the Palestine Poster Project Archives exclusively house posters by Palestinians?
No. As indicated in items 1, 3, 4, and 5 in the the question above the artists and/or publshers can be of any nationality.
11) What is the significance of August 31, 1897, used in Definition 5?
This is the date that concluded the First Zionist Conference—the inaugural meeting, chaired by Theodor Herzl, of the Zionist Organization (later known as the World Zionist Organization). A platform was adopted at this conference, known as the Basel Program, which included the following language:
"Zionism aims at establishing for the Jewish people a publicly and legally assured home in Palestine. For the attainment of this purpose, the Congress considers the following means serviceable:
1. The promotion of the settlement of Jewish agriculturists, artisans, and tradesmen in Palestine.
2. The federation of all Jews into local or general groups, according to the laws of the various countries.
3. The strengthening of the Jewish feeling and consciousness.
4. Preparatory steps for the attainment of those governmental grants which are necessary to the achievement of the Zionist purpose."
Today’s contest over the geographical territory of historic Palestine dates directly back to this conference. Zionist posters have been created to operationalize the Basel Program and its founding ideology, and many posters have been created by Palestinians and others in solidarity, in defense against that platform and ideology. Thus, 1897 is the authentic starting point for the study of the Zionist-Palestinian conflict and the content of Palestine Poster Project Archives.
12) Why does the name of the fourth Wellspring include both the words “Zionist” and “Israeli”? Aren’t they the same thing?
No. A “Zionist” is a person who believes in the political ideology known as Zionism as espoused by Theodor Herzl. An “Israeli” is a citizen of Israel (though not necessarily a "national"). Some Israelis are not Zionists, and many Zionists are not Israelis. For more information about the term Zionism and its importance, see the monograph, Antonym/Synonym: The Poster Art of the Palestinian/Israeli Conflict
13) Aren’t there clear differences in the posters created by Palestinian nationalists and their allies and those created by Zionists?
Yes. The Palestine Poster Project Archives recognizes such differences. The site’s taxonomy enables viewers to select posters for viewing by subgenre, or Wellspring:
Arab/Muslim Artists and Agencies
International Artists and Agencies
Palestinian Nationalist Artists and Agencies
Zionist and Israeli Artists and Agencies
14) But why do all these posters have to be presented together at one site?
The core objective of the Archives is to make the history of the Zionist/Palestinian conflict fully accessible and comprehensible to American educators and students. The combination of works from the four Wellsprings into one genre, “Palestine posters,” avoids the gratuitous complexities that emerge when posters related to a single, common theme - Palestine - are arbitrarily and randomly divided into separate genres by libraries, archivists and publishers under such varied terms as:
By co-presenting posters from the four Wellsprings at one location in a non-privileging format a new historical whole emerges, one that facilitates rather than complicates the work of students, teachers, journalists and other seekers of information related to Palestine. This aggregation enables the viewer to access the full spectrum of voices in the contest between political Zionism and Palestinian nationalism.
15) Who “owns” the PPPA?
The historical, political, artistic and cultural content and context of the PPPA belongs to the indigenous people of Palestine, the Palestinians. I, Dan Walsh, own the PPPA Website and I also own copies of many of the posters featured at the Website. However, I do not own any of the copyrights nor do I seek them.
16) What are the long-term plans for the Archives?
Ideally, the Archives, that is the physical and printed copies of the Palestine posters that I own, and all the related materials – books, catalogs, newspaper stories, reviews, the digital Archives, etc., should be permanently established in Palestinian national space. This is as it should be and this is as I would like it to be. This unique Palestinian heritage resource should not be the property of any individual and should be housed in Palestine for posterity.