Jonathan Barnbrook – Page 7

Weekend links 25

A commemorative Borges coin.

He says, “Two aesthetics exist: the passive aesthetic of mirrors and the active aesthetic of prisms. Guided by the former, art turns into a copy of the environment’s objectivity or the individual’s psychic history.” There, of course, he sums up all of realism, no? “Guided by the latter, art is redeemed, makes the world into its instrument and forges, beyond spatial and temporal prisons, a personal vision.” That’s Borges.

• The Borges Behind the Fiction: Colin Marshall talks to translator Suzanne Jill Levine. Related: The Garden of Forking Paths.

• From The Quietus: Blondie in Conversation with William S. Burroughs by Victor Bockris, 1979; An Interview with Laurie Anderson by Robert Barry, 2010.

In 962 Abd-er Rahman III was succeeded by his son Al-Hakim. Owing to the peace which the Christians of Cordova then enjoyed […] the citizens of Cordova, Arabs, Christians, and Jews, enjoyed so high a degree of literary culture that the city was known as the New Athens. From all quarters came students eager to drink at its founts of knowledge. Among the men afterwards famous who studied at Cordova were the scholarly monk Gerbert, destined to sit on the Chair of Peter as Sylvester II (999–1003), the Jewish rabbis Moses and Maimonides, and the famous Spanish-Arabian commentator on Aristotle, Averroes.

Entry for The Diocese of Cordova from The Catholic Encyclopedia (1917).

• Professor Newt’s Distorted History Lesson. A riposte to the ignorance of the wretched Gingrich. Related: the Mezquita de Córdoba.

Jorge Luis Borges and a cat. Via.

• Joseph and His Friend—A Story of Pennsylvania (1870) by Bayard Taylor, America’s first (?) gay novel. Related: 20 classic works of gay literature.

• Elegies For Angels, Punks and Raging Queens at the Shaw Theatre, London, from 10–28 August 2010.

• Tristan Perich’s 1-Bit Symphony is released later this month. Café Kaput’s first release, Electronic Music in the Classroom by DD Denham, appears in September.

• “Just relax and enjoy it.” k-punk on the ambition and vision of David Rudkin’s Artemis 81.

• Chris Watson explores Alan Lamb’s The Wires: three audio recordings to download.

• Jonathan Barnbrook: Tuxedomoon fan, 1988, and Tuxedomoon designer, 2007.

• Rob Young’s Electric Eden reviewed by Michel Faber.

• Brian Eno gets the Warp factor.

• No Tears (1978) by Tuxedomoon; Atomic (1979) by Blondie; Everything You Want (1980) by Tuxedomoon; Next One Is Real (1984) by Minimal Compact; Hologram (2010) by These New Puritans.

Sumer Is Icumen In but you wouldn’t have known it today, it being cold and wet, O my brothers. The picture above is the work of David Owen whose Ink Corporation does a splendid job of updating the iconography of the folk music world. Via Electric Eden.

• Biting the hand that feeds: designer Jonathan Barnbrook’s contribution to the Biennale of Sydney takes a dig at the whole enterprise. The art market is impervious to criticism (or shame) but the gesture is an amusing one.

• Emanuel Schongut’s book covers of the 1960s and 1970s on the artist’s own Flickr pages. Via A Journey Round My Skull.

• Owen Freeman on illustrating William Burroughs. Related: Reality Studio interviews Victor Bockris.

• RIP Jack Birkett, Derek Jarman’s Caliban and the Pope in Caravaggio. And RIP Dennis Hopper, actor, director and photographer.

“Sea Nettle” (1873), a costume design by the Mistick Krewe of Comus. From this BibliOdyssey posting of New Orleans Mardi Gras designs.

• Chris Summerfield’s surfer boys at Lulu.

• Homotography also has a Tumblr page.

• The Ghost Box Study Series Singles.

• More 3D projection on buildings.

• John Foxx interviewed at FACT.

Song of the week: Ineffect (1989) by Material.

Weekend links 1

• Two covers from a new range of Penguin reprints for the AIDS awareness fund (RED), all of which are based around quotes from the books in question. Non-Format‘s stylised extract concerns the blazing red of the Count’s eyes while Coralie Bickford-Smith plays some Tom Phillips games with the text of The Secret Agent. The random circles no doubt relate to those which the doomed Stevie Verloc occupies his time in drawing. More at Caustic Cover Critic.

• Artspeak? It’s complicated. Jon Canter at The Guardian makes a blazingly obvious point which few in the art world would ever admit: that the specious pronouncements of many galleries and contemporary artists are the worst kind of bullshit.

• I helped judge the Ballardian/Savoy Microfiction competition whose winners were announced last week.

• Designer Jonathan Barnbrook enjoys Neu! and Wendy Carlos.

• Nuit Blanche, a short film by Spy Films.

Elsewhere on { feuilleton }
• The book covers archive

Soviet posters

“Lenin is dead but the Russian Communist Party lives on” (no date).

More typography and yet more Soviet poster art which seems perennially popular with graphic designers. Bold Constructivist designs like this example are part of the reason why: over 80 years old yet still striking. Type foundry P22 have a set of Constructivist fonts similar to the typeface used here. Poster tip via Coudal.

Sieg Heil Iconographers, title spread (2006).

I plundered the Soviet style in 2006 for the design of Jon Farmer’s Sieg Heil Iconographers for Savoy Books. The typeface this time was Jonathan Barnbrook’s contemporary design, Newspeak. Does the assertive bad taste of the book’s title undermine the Communist propaganda or do the Agitprop graphics ironically counterpoint the discussion of fascist history within? That’s left for the reader to decide.

Previously on { feuilleton }
• Lenin Rising
• Dead Monuments
• Soviet ceramics of the 1920s
• Enormous structures II: Tatlin’s Tower

Design as virus 1: Victorian borders

There’s nothing new about drawing attention to the viral nature of design, whether in the repeated use of motifs and styles or the way in which typefaces breed and proliferate; Jonathan Barnbrook alludes to this process directly by calling his font house Virus.

The plate above comes from a Victorian book I bought several years ago, The Pictorial Cabinet of Marvels, a reasonably lavish volume for children concerning places and things of interest around the world. Since I like playing with excessive Victorian flourishes now and then I’m always on the look out for new examples and the border here immediately caught my eye. I have a decent selection of clip art books from Dover and Pepin containing this kind of thing but nothing quite like this particular design. When I was putting the Damnation and A Day album together for Cradle of Filth I took one of the corner pieces as a starting point for a border design I used on the front and back of the booklet and the tray.

The poor old Xaverian Brothers of Manchester’s Catholic Collegiate Institute would no doubt be mortified to see part of their prize bookplate being used to decorate such a blasphemous artefact. The album was released by Sony Music in 2003 so this little border motif has travelled the world by now. I seem to recall sending the record company the border design separated from the artwork so they could make up some posters.

And so we come to what I’m assuming is its latest manifestation, a poster design for Manifest Destiny, a Los Angeles music event organised by Tee Pee Records.

I say “assuming” since I’ve no idea whether this example is from my design or not. But it seems a safe bet seeing as the original is from such an obscure source. Not that I mind if it is, of course. I can’t very well complain when I swiped the thing in the first place, now can I?

Update: Tee Pee designer Sarah MacKinnon writes to say her Victorian motif is from one of Dover’s clip art books. Now I know that I wouldn’t mind finding the book for my own collection. This makes the occurrence of the original more unusual, at least from my point of view, since it’s the only time I’ve spotted one of these reprinted elements in its period setting.

Previously on { feuilleton }
• Masonic fonts and the designer’s dark materials

Tag: Jonathan Barnbrook

Weekend links 25

Weekend links 16

Weekend links 1

Soviet posters

Design as virus 1: Victorian borders