Collecting area: Germany

Born in 1963, Feuchtenberger was raised in East Berlin, where she trained as a graphic artist at the Kunsthochschule Berlin-Weissensee. Shortly before the fall of the Berlin Wall, motivated by the East German citizens’ movement, she co-founded the political artists’ collective PGH Gluhende Zukunft—a group that ironically called itself the “Glowing Future Productive Collective.” In her comics, theater and political posters, and other works, Feuchtenberger blends different artistic traditions, including German Expressionism. Her work frequently reflects her feminist activism by focusing on the relationship between women and their children and society. Since 1997, she has taught drawing and media illustration at the Academy of Applied Sciences in Hamburg, Germany.  

The works included in this collection were part of the first major solo exhibition of Feuchtenberger in the U.S. curated by UMass MFA student Bibiana Medkova and on display at the Olver Design Building in 2018. The collection itself was donated by German Filmmaker Jörg Foth. Both Foth and Feuchtenberger were active in the art scene at the time of German reunification and their work occasionally overlapped. For example, Feuchtenberger created film posters as well as art for the opening titles, closing credits, and intertitles for Foth’s 1994 film, Tir na nOg. The works in this collection reflect Feuchtenberger’s printing oeuvre for theaters, plays, and films during the 1990-2000s with a focus on works in color, and including a selection of black and white drawings and political artwork of the post-Berlin-Wall pre-unified Germany era.

Eastern Europe’s socialist republics of the Cold War era strove to establish national cultures that reflected communist objectives and withstood Western influences. In order to promote collectivist ideals, state authorities supervised the production of literary works, motion pictures, television programs, sound recordings, and other forms of cultural content. To centralize the manufacturing of music records for its national market of sixteen million citizens, the GDR maintained a state-owned record company. Formally under the supervision of Ministerium für Kultur (Ministry of Culture), VEB Deutsche Schallplatten (German Records, NOE) provided the GDR audience with classical, traditional, and popular music as well as literary and educational recordings.

Mandated to cover a broad spectrum of content, Deutsche Schallplatten established separate divisions to develop artists and repertoire, releasing the vast majority of its works on five major labels:

• Amiga: popular recordings for all age groups
• Eterna: classical and political recordings
• Litera: literary recordings like audio books for adults and children
• Nova: recordings that reflected socialist lifestyles
• Schola: educational recordings for use in schools

Apart from the producers affiliated with these labels, the company’s creative division also included graphic designers who crafted cover art and musicologists who documented the growth of the respective catalogs. Counting managers, administrators, technologists, and the sizeable workforce of its industrial plants, Deutsche Schallplatten after the mid-1970s had around 800 employees. Yet, in the course of German reunification and the privatization of nationally owned enterprises, the enterprise lost its cultural relevancy and failed economically. Ultimately, competing firms acquired the catalogs of Amiga and Eterna, which encompassed the master tapes of and exploitation rights to Deutsche Schallplatten’s commercially most viable recordings.

As the former monopolist underwent its eventual dissolution in the early 1990s, a time when public interest in GDR culture hit an all-time low, most of its material legacy was to be discarded. Aware that a unique cultural heritage was earmarked for destruction, the former music producer Volkmar Andrä intervened to preserve decommissioned recordings and files. With assistance from Sven Kube, an academic historian who has reconstructed Deutsche Schallplatten’s evolution, these materials were transferred to UMass Amherst.

Comprised chiefly of sound recordings and text files, but featuring other media types, this collection offers unique insights into the music life of the German Democratic Republic (GDR) between the early 1960s and the country’s demise in 1990.

Access restrictions: Temporarily stored offsite; contact SCUA in advance to request materials from this collection.

Sigrid Brauner was born in Hofheim, Germany, earning her BA from the University of Frankfurt before immigrating to the United States. Brauner completed her PhD in German literature at the University of California Berkeley in 1989 and later the same year joined the faculty at UMass Amherst in the Department of Germanic Languages and Literature. Brauner, who served on the executive committee of the Women’s Studies Program, remained at UMass until her death in December 1992.

The papers reflect Sigrid Brauner’s interest in race and gender as well as her research in anthropology and theology. “Witches: Myth and Reality,” the popular course Brauner taught during the fall 1992 semester, is represented in the collection along with other notes for research and teaching. Professional correspondence as well as political and social change periodicals comprise the remainder of the Brauner Papers. A fair portion of the collection is in German.

Born in Germany in 1923, Gerard Braunthal was a scholar of German politics and taught as a professor in the Political Science department from 1954. Before receiving his B.A. from Queens College in 1947, Braunthal served in intelligence during World War II, going on to receive his M.A. from the University of Michigan in 1948 and Ph.D from Columbia University in 1953. While studying at Columbia, Braunthal worked as an interviewer for US Air Force intelligence. An expert on the German Social Democratic party (SPD), Braunthal published extensively on modern German politics. His work on the subject was well regarded in Germany as well as the United States. In parallel to his academic research, Braunthal was also an anti-war and anti-nuclear activist, serving on the executive committees of both the Valley Peace Center and the Citizens for Participation in Political Action (CPPAX). Braunthal received the Order of Merit from the German government.

The collection includes Braunthal’s correspondence, article manuscripts and research materials, as well as pamphlets, form-letters, and broadsides relating to anti-Vietnam war activism, interspersed with a small amount of personal correspondence from his own antiwar activities. Among his research materials is a collection of interview transcripts with members of the Federation of German Industry (BDI). There is also a significant collection of documents from his involvement with local activist groups, which includes minutes, form-letters, reports, conference proceedings, and leaflets.

Mark Taylor Brinsfield studied languages and law in Europe before receiving his MA in European Studies at the University of Exeter. His research has included work in the history of multiracial people in post-World War II Southeast Asia. Brinsfield currently lives in Northampton, Mass.

The posters in the Brinsfield Collection represent a cross-section of West German political campaigning during the decade leading up to reunification. Focused primarily on national, rather than regional elections, the collection includes representative work from the major left- and right-leaning political parties (CDU and RCDS, SDU, the Greens) as well as a few posters addressed at major political issues, including the antinuclear and antiwar movements.

Printers and bibliographers use a bevy of terms to refer to works printed on one side (or sometimes both sides) of a single sheet, classified primarily by size. From large to small, posters, broadsides, and fliers refer to works used to convey a more or less focused message to an audience, often using illustrations or inventive typography to grab the attention.

Posters from Communist world, with an emphasis on the political and cultural transformations of the late 1980s through mid-1990s. The majority of posters originated in the Soviet Union, although there are examples from East Germany, China, and elsewhere.

The Dominikanerinnenkloster St. Gertud (Dominican Convent of Saint Gertrude) operated in Cologne, Germany, for nearly five and half centuries. An important center in connection with German mysticism in the 13th and 14th centuries, the Kloster survived the Reformation, however persistently poor finances led to its decline in the 18th century. After it was abolished during a wave of secularization on October 14, 1802.

This diminutive book of hours was prepared by Dominican nuns at the Kloster St. Gertrud during the 1480s. Like some other German books of hours it lacks the calendar, Gospel lessons, and the two prayers to the Virgin, Obsecro te and O intemerata, however it includes additional liturgical texts, such as Offices for major feasts, as well as music for the funeral service. This copy may have been made for or by the prioress Magdalena Frankengruenerin (1481-1488), and remained in the convent until the eighteenth century.

The concept of product marketing in a Communist state may seem slightly incongruous, but in the countries of the Eastern Bloc, consumer goods were packaged and sold with much the same care as they were in the west. The Packaging Design Collection contains examples of quotidian products sold during the post-war period, ranging from boxes for soap powder to toothpaste, shampoo, and sugar sacks. The collection documents the visual language used on consumer products in East Germany and the evolution of graphic design in the Communist states of Eastern Europe from the 1950s through 1980s.

From the official optimism of the post-war years in East Germany through the dynamic press of the 1970s to the end of the regime in 1989, the state and its critics developed a distinctive print culture that was reflected in its literary and artistic output and in its popular and academic works.

The DDR collection contains miscellaneous volumes printed in East Germany, including literature and drama, touristic books, popular history, works on the arts, and a variety of academic and reference works.

View the full DRR collection in the library’s catalog.

The graphic artist Siegfried Ebert had an important influence on the visual language of East German television and animated motion pictures. Born in Eibau on July 20, 1926, Ebert was drafted into the Luftwaffe in 1943, but shortly after going on active duty, he was severely wounded and taken prisoner by the English. After his release, Ebert shifted course in life, studying commercial art at the Kunstgewerbeschule Zittau and film at the Hochschule für bildende und angewandte Kunst in Wiessensee. He became one of the earliest artists to specialize in the new medium of television, working for Deutscher Fernsehfunk, doing graphic design and animation. A member of the Verband Bildender Künstler Deutschlands, he later worked on animated films for the DEFA studios. Suffering from ill health for the last several years of his life, Ebert suffered a heart attack in November 1985, and died at home shortly after his sixtieth birthday in 1986.

The Ebert Collection includes a small assortment of correspondence, awards, and biographical materials, along with examples of his graphic work for television and film. Among other unusual items in the collection are attractive handbills (small posters) for Progress and DEFA films, some original sketches, photographs and mockups of his artwork for television, and an assortment of personal and professional ephemera.