Archive for December, 2009

Win a copy of 70s Style & Design!

Thursday, December 31st, 2009

We’re celebrating the New Year with an exclusive competition to win a copy of the spiffing new book 70s Style & Design.

The competition is in conjunction with sister blog THE LOOK; the fine folk at Thames & Hudson have supplied us with the prized copy which will go to the person whose name is first out of the hat filled with correct answers to the question at the bottom of this post. 

Authors Kirsty Hislop and Dominic Lutyens give Barney pride of place in the book with images of his sleeves for Ian Dury & The Blockheads’ 1978 single Hit Me With Your Rhythm Stick and The Damned’s 1977 album Music For Pleasure.

Kirsty and Dominic align Barney with Mick Haggerty and George Hardie as part of the triumvirate which “pre-empted the pluralism of the New Wave graphics revolution” and present his influence on the likes of April Greiman and Reasons To Be Cheerful contributor Malcolm Garrett

For a chance to win a copy of this visual feast, send us your answer to the following question:

Which album by Ian Dury & The Blockheads featured 28 front cover variations of 1970s Crown wallpaper patterns?

MAIL YOUR ANSWER TO: thelook@rockpopfashion.com.

THE WINNER WILL BE ANNOUNCED ON JANUARY 14.

Be lucky and Happy New Year!

Happy Holidays!

Friday, December 25th, 2009

Happy Holidays to all our readers – January marks the first anniversary of this blog and at this rate we’ve got many years to come, with the work of Barney Bubbles as our springboard into the highways and byways of art, design and rock & roll.

7in sleeve, paper. Private pressing of a 45rpm Christmas message from Colin Fulcher (aka Barney Bubbles) to his friends and relations, 1966. (c) Reasons 2009.

2010 will bring a new edition, an exhibition, a series of events and who knows what other delights? Rest assured they will be many and multifarious.

Be seeing you,

The Barney Bubbles Blog.

 

 

Bang! When Barney Bubbles brought Berlewi to Generation X

Saturday, December 5th, 2009

One of the key works by Barney Bubbles is the 7″ 1977 sleeve  for Your Generation/Day By Day, the debut single by British punk band Generation X.

Left: 7" sleeve. Front cover, Your Generation/Day By Day, Generation X, 1977. Right: Composition In Red, Black And White, Henryk Berlewi, 1924. Lodz Museum of Art.

Designers such as Peter Saville and Malcolm Garrett discuss the design’s importance in near-epiphanic terms. 

“We saw the sleeve and received a very clear signal,” says Peter in his essay in Reasons To Be Cheerful. “Mr Barney Bubbles – whose work we already knew from Hawkwind and Stiff – was saying: “‘Constructivism has my blessing.’ Our response was: ‘Yes,  this is the way’.”

Front cover, 7" sleeve. Your Generation/Day By Day, Generation X, Chrysalis, 1977.

Here we discussed how the band’s co-manager Jonh Ingham’s chance encounter with Barney sparked the commission.  Barney was able to accomodate Jonh’s freshly acquired interest in constructivism and, at the same time, nod to the band’s self-designed t-shirts. 

Now the exact source of inspiration has been identified by Dutch writer and Barney fan Jan Vollaard and Doris Wintgens Hotte, curator at the Stedelijk Museum in Lakenhal, which is hosting the exhibition Theo van Doesburg And The International Avant-Garde.

It is a work entitled Composition In Red, Black And White, one of 12 by the Polish artist Henryk Berlewi to accompany his 1924 manifesto Mechano-Faktura, which proposed that painting be “designed” according to the principles of modern technology and mechanical reproduction.

Back cover, 7" sleeve. Your Generation/Day By Day, Generation X, Chrysalis, 1977.

Berlewi was associated with many of the important figures of the post World War 1 Continental art movements and was later recognised as having pioneered op-art, the abstract geometric work adopted by the fashion industry as decoration in the 60s. In photographs by Edward Hartwig he is surrounded by models in op-art dresses.

Jan showed Doris the Generation X sleeve as part of his preparation for tomorrow’s presentation on Barney’s integration of the work of van Doesburg and his peers such as Berlewi.

Composition In Red, Black And White. Henryk Berlewi, 1924.

“Doris was surprised and intrigued,” says Jan. “Right away she took me to see Berlewi’s painting and explained  his manifesto of mechanical constructivism and the way in which he captured movement and form in abstract, square-cornered compositions.”

Generation X guitarist Tony James surrounded by self-designed t-shirts, 1977. To the left is his own version of Barney's "45". Photo: Ray Stevenson.

The Your Generation sleeve is one of the clearest examples of Barney’s distillation of art history references. Using Berlewi’s painting as a springboard, Barney reassembled the elements into a multi-layered  piece which accurately expressed the visual minimalism and energy of the punk period, led by the “45” pun on the rpm of the 7in single contained within, and the geometric representation of a record being played from above. 

Henryk Berlewi surround by his paintings and models in "op-art" dresses, 1966. Photo: E. Hartwig.

Berlewi is important as an exemplar of Eastern European Jewish graphic art, which would also have chimed with Barney’s Jewish roots. Yiddish scholar Seth L. Wolitz  has discussed how, under the influence of El Lissitzky in the early 20s, Berlewi  moved from expressionism to constructivism, meeting along the way Van Doesburg, Moholy Nagy and the German Dadaists.

His work was recognized by the avant-garde art dealer Herwarth Walden, who published the manifesto Mechano-Faktura in his publication Der Sturm in 1924.

 

Forty three years later, Barney recast Berlewi in the frenetic context of punk-rock. In the process he inspired not just Saville and Garrett but also Neville Brody, Al McDowell and successive waves of rock music-mad art students to delve into the art movements of the early 20th century and forge a new design aesthetic.

A Henryk Berlewi archive has recently been launched; Wolitz is among the board members. You can find out more here.

Meanwhile full details of Jan Vollaard’s presentation are here.