9 January 2016 § Leave a comment
One of the most unfortunate aspects of the decline of the album, and to some extents the CD, has been the loss of the potential space for sleeve artwork. With the rise of vinyl sales during the last century, the artistic potential of the sleeves was not lost on the very best artists and photographers of the period, and many became involved contributing to a very memorable, if narrow, artistic genre.
Remember the great original Warhol covers for the Stones’ zippered Sticky Fingers and the banana for The Velvet Underground & Nico? The Beatles were of course involved too, with the Peter Blake photograph (not a collage by the way) for Sgt Peppers.
The Beatles drew in other Pop artists – Richard Hamilton made his minimalist statement for the ‘White Album’ whilst for David Bowie, Derek Boshier created the striking Lodger designs.
Top photographers were there too. Robert Mapplethorpe’s image of Patti Smith provided the iconic cover for Horses, Richard Avedon took Simon & Garfunkel’s picture for Bookends and – here’s a little known nugget – Man Ray created a photo collage for Exile on Main Street (below), sadly unused.
This is to barely touch the surface of the phenomenon of album art, something that we thought had gone forever with the apparent demise of vinyl in the 1990’s. Fortunately the death of the album had been greatly exaggerated and sales are now booming again.
With this resurgence comes a new generation of album artists, designers, prize and inevitably, an awards ceremony. Art Vinyl have a competition that is actually now in its 10th year, with this year’s fifty nominations selected by a panel of music design experts and previous Best Art Vinyl Award winners. In co-operation with Belgraves Hotel they have just revealed the 2015 winners.
David Gilmour’s ‘Rattle That Lock’ album took the top prize with Drenge’s ‘Undertow’ second, and Tame Impala’s ‘Currents’ third. The winners and all of the shortlisted entries are now on display in the window at Belgraves until the end of April.
The artwork covered a wide range of creative disciplines, including fine art, photography, sculpture and computer graphics. Given the august history of album artwork we perhaps should not be surprised that the short list also included two Turner Prize nominees, Mark Wallinger and Jim Lambie (for Linden).
David Gilmour’s wining cover was created by The Creative Corporation, in collaboration with Aubrey Powell from the legendary Hipgnosis – a design studio that produced covers for the likes of Pink Floyd, Led Zeppelin and T Rex.
Best Art Vinyl founder Andrew Heeps explains, “This is the first year such an established artist’s record has won Best Art Vinyl, but notably the design team have historically been responsible for so many iconic sleeve designs… It’s interesting that two of the top three are conceptual compositions, using photography as the core of the design.”
In January 2016, the winners of the Best Art Vinyl 2015 award will feature in exhibitions in London, Scotland, Italy, Germany and Hungary as well as on www.artvinyl.com.
You can check out the entries on www.artvinyl.com or visit the window installation at the Belgraves Hotel, London Belgravia from 7th Jan 2016
For more information and the 50 nominated Best Art Vinyl 2015 records with designer credits see Artvinyl.com
19 November 2015 § Leave a comment
Pop art is very much alive and kicking. The World Goes Pop is currently at the Tate following on the heels of Post Pop: East Meets West at the Saatchi Gallery, the BBC ran a recent series BBC Four Goes Pop, Allen Jones was at the Royal Academy and Richard Hamilton had a solo show at the Tate last year. That is not even to mention continuing interest in other artists like David Hockney on the edges of the movement.
Maybe it is because we are bored of the self referential world of post-modernism or perhaps there is a recognition of the present day relevance of the movement as we fight off an ever increasing barrage of media imagery. It could well be that Pop Art turns out to be modern art’s most influential movement, parodying all this mass media imagery whilst creating a startlingly prescient take on the world of today: the age of consumerism.
Within this apparent surge of interest the work of Derek Boshier has found a new lease of life. Recently featured on BBC4’s ‘What do artists do all day’ (a series that also featured Sir Peter Blake) he now has a solo show at Flowers Gallery which also coincides with the release of an excellent Thames & Hudson monograph (reviewed here).
The Rethink/ Re-entry exhibition features a fascinating range of rarely seen pieces, much from Boshier’s own collection whilst surveying the shifting emphasis of his art in the late sixties and early seventies. It re-examines his work of the period via the extraordinary variety of his practice – assemblages, collages, drawings, films, graphics and prints alongside more recent films and collages.
In thé ground floor gallery we see the sharp political edge of his work in works like The Stun (1979), a spoof tabloid front page bringing together the Queen and Irish Violence with an incisive wit. Meanwhile in Hi Consumers Don’t Forget Nothing Lasts Forever (1978) Boshier takes a wry shot at consumer culture.
Three perspex vitrines take a more conceptual angle and have a distinctly affinity with John Baldessari works of that time. King George V Avenue Cardiff from 1971 for example features a series of red circles and black columns lined in perspective along a found image of a broad street.
Boshier’s provocative and experimental approach was reflected within the gathering punk movement and also appreciated by David Bowie who commissioned him to work on LP sleeves, as well as stage set design. Featuring both on walls and vitrines are original drawings from Boshier’s collaborations with The Clash on graphics for the CLASH 2nd Songbook, and with Bowie for the 1979 album Lodger. He happily told Boshier ‘do what you like’ for the interior of the gatefold sleeve; Boshier obliged with a collage on mortality that Bowie loved.
His versatility continues with a neat Joseph Cornell style box from 1976, State of Mind, that makes a statement both on consumerism and politics combining a toiletry bottle and newspaper cutting featuring strikers.
Downstairs three series of photographed images are a different take on Hockney’s photo collages and Ed Ruscha’s Every Building on the Sunset Strip. From his 1978 Routes series a sequential strip of images introduce time as an element as the camera’s lens takes a ‘stroll’ at three different locations.
In yet another media, film, Boshier’s 1973 Change is also showing, along with three more from 2014. In Change Boshier spliced sequences of still images from an installation at his Whitechapel Gallery retrospective of the same year. It remained unopened for 38 years, until its recent rediscovery provoked his desire to create new films using contemporary digital technologies.
Last but not least are four collaged works from 2014, each edged with his trademark broad black lines.
They look effortless and Boshier reminds us that his talent for drawing, eye for design as well as his desire to make works politically relevant are all still as strong as ever. He remains an important figure not only in the story of Pop Art but also in the contemporary art world.
For more information visit www.flowersgallery.com
Images courtesy of the artist, Flowers Gallery and CELLOPHANELAND*
1 November 2015 § Leave a comment
It seems that any debate about the artistic merits of Allen Jones’s works are almost entirely overwhelmed by the public reaction to his infamous female nudes. Drawing on the imagery of bondage and rubber fetishism his highly sexualised sculptures were a sensation when first revealed to a shocked sixties public, whilst fifty years or so on from their creation, they still stir strong views from people who tend towards the love/hate ends of the spectrum.
From the canvases we move on to two large spaces filled with his sculptural works. To illustrate the natural connection of Hamiltons 3D works to his paintings, the first one of these was largely occupied by highly original sculptures where two dimensional sheets of wood and steel have been cut, twisted and folded. With this seemingly simple process, Jones has created complex, dynamic and stylish objects that illustrate his consummate talents.
The final large gallery consists of his most controversial female sculptures. Standing terracotta-warrior style paraded across the room they are rather unnerving and one’s unease at viewing them works is immediate. Is he brilliantly revealing the male voyeuristic gaze and exposing how men really look at or think about women. Or does he simply just enjoy creating fetishistic sculptures of women?
Although his public statements have been equivocal, one has to suspect the former. This is what he said about his ‘furniture’ works: “presenting the figures as objects that would demand an immediate, non-art response: ie, chair – sitting; table – using. I attempted to dislocate the normal expectations when the viewer wishes to confront a work of art.”