4. January 2020

Body Performance - Ausstellung der Helmut Newton Stiftung - Teil 2

Viviane Sassen begeistert seit Jahren die Modefotowelt. Auch sie arbeitet in erster Linie mit dem menschlichen Körper, etwa indem...


31. December 2019

Body Performance - Ausstellung der Helmut Newton Stiftung - Teil 1

Performance ist eine eigenständige Kunstform, und die Fotografie ist ihr ständiger Begleiter. In dieser Gruppenausstellung werden...


Top-News  |   7. February 2017


Book Cover, Art Record Covers, Francesco Spampinato, Hardcover, 29,3 x 29,3 cm, 448 Seiten.

Page 13: Andy Warhol for The Velvet Underground and Nico,1967, label: Verve Records, Screen print, Vinyl released with three variations of front cover with banana sticker to peel off.

Page with Banksy's cover for the compilation "We Love You So Love Us", 2000.

Collaboration Between Fine Arts and Music

Since the dawn of modernism, visual and music production have had a particularly intimate relationship. From Luigi Russolo’s 1913 Futurist manifesto "L’Arte dei Rumori (The Art of Noise)" to Marcel Duchamp’s 1925 double-sided discs "Rotoreliefs", the 20th century saw ever more fertile exchange between sounds and shapes, marks and melodies, and different fields of composition and performance.

Did Salvador Dalí possibly enjoy listening to romantic dance music and Mood Music, which is mostly known today as "Easy Listening"? One can only assume as much, but he designed the cover for US entertainer and orchestra leader Jackie Gleason, after all, whose covers were usually dominated by yearning women or even only their legs, couples in love and cocktail glasses. Gleasons’ "Lonesome Echo" was published in 1955, and therefore forms an early example for collaboration between fine arts and music. The history of pop music is also always a history of esthetic presentation, and fine arts have a huge impact on it.

In Francesco Spampinato’s unique anthology of artists’ record covers, we discover the rhythm of this particular cultural history. The book presents 500 covers and records by visual artists from the 1950s through to today, exploring how modernism, Pop Art, Conceptual Art, postmodernism, and various forms of contemporary art practice have all informed this collateral field of visual production and supported the mass distribution of music with defining imagery that swiftly and suggestively evokes an aural encounter.

Along the way, we find Jean-Michel Basquiat’s urban hieroglyphs for his own Tartown record label, Banksy’s stenciled graffiti for Blur, and Damien Hirst’s symbolic skull for the Hours. There are insightful analyses and fact sheets alongside the covers listing the artist, performer, album name, label, year of release, and information on the original artwork. Interviews with Tauba Auerbach, Shepard Fairey, Kim Gordon, Christian Marclay, Albert Oehlen, and Raymond Pettibon add personal accounts on the collaborative relationship between artists and musicians.

The book "Art Record Covers" by Francesco Spampinato will be published this month by the editorial TASCHEN, find more information here.



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16. October 2019

Affordable Art Fair Hamburg

In 1999, the art world was dominated by expert fairs, traditional auction houses and white cube galleries. Whoever wanted to buy...


7. October 2019

Olafur Eliasson: In real life

Olafur Eliasson (b. 1967) grew up in Iceland and Denmark. In 1995 he founded Studio Olafur Eliasson in Berlin, which today...

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