Front covers, 12in card. Top: Armed Forces, Elvis Costello & The Attractions, Radar, 1979. Above: Music For Pleasure, The Damned, Stiff Records, 1977.

Coming soon to the V&A is the first full-scale exhibition to tackle Postmodernism, and it not only positions Barney Bubbles as “the key innovator” in music graphics in the 1970s but also aligns his practices with those of Robert Rauschenberg in fine art and Frank Gehry in architecture.

According to curator Glenn Adamson, Postmodernism: Style and Subversion 1970-1990 will also show how Bubbles’ work anticipated that of the digital design pioneers of the late 80s and early 90s such as David Carson.

“Bubbles was creating by hand work which looks to our eyes as though it were assembled on a computer,” says Adamson. “He foreshadows the visual eclecticism we find so natural in the internet age”

Opening on September 24, the show will present 250 exhibits from a full-scale reconstruction of Hans Hollein’s facade for the 1980 Venice Biennale through to examples of the work of Memphis, Jean-Paul Goude, Jenny Holzer, Jeff Koons, Robert Longo and many others.

For a preview selection of images from the exhibition see here.

Bubbles is represented by his designs for the album releases Music For Pleasure by The Damned and Armed Forces by Elvis Costello & The Attractions (which contained contributions from artist Tom Pogson – who painted the David Shepherd pastiche cover – and graphics and illustrations from the French collective Bazooka).

Armed Forces with interlocking leaves unfolded to display the album title + credit.

7 x back cover fold variations, Armed Forces (with illustrations by Bazooka).

“Barney Bubbles was the first important post-modern designer to work in the music industry,” says Adamson, who has curated the exhibition with Jane Pavitt.

“He is of cardinal influence as one of the primary innovators of this new style, and remains fascinating because he crossed the line from the psychedelic genre of design we associate with Pop in the late 60s to the postmodernism of the 70s.”

In terms of graphic design history, says Adamson, Bubbles can be placed alongside US designer Paula Scher. “Though she was only getting going by the time Bubbles had made the transition,” Adamson points out. “Bubbles was already established, had a great network and, as the two exhibits of his show, was at the top of his game.”

Both sides of the Armed Forces inner sleeve.

Both sides of the Armed Forces record label.

From left: Back and front of 7" sleeve for Armed Forces free EP Live At Hollywood High.

So where does Bubbles work lie in the wider context of postmodern design? “By our definition, which is based on quotation and bricolage (assemblage of a work by diverse elements), Barney Bubbles is absolutely right on,” says Adamson.

“He quoted the range of art-historical sources and ripped up and pasted together, using strategies we associate with Robert Rauschenberg in fine art or Frank Gehry in architecture. When considering his work, we situate him not just in graphics but with other disciplines.”

Frank O. Gehry, The Gehry House, Santa Monica, CA, 1977-78. Photo: Craig Scott.

Cover, Wet magazine, April Greiman + Jayme Odgers, 1979.

Adamson says that Bubbles achieved the anticipation of digital design by “a very involved, seamless, crafted commitment to the form. Like April Greiman and Vaughan Oliver, for instance, he was able to anticipate the visual collisions of hyperspace”.

The show’s representation of work by these and other designers who followed in Bubbles’ wake -  Peter Saville, Neville Brody and others – underlines Bubbles’ importance. “In certain respects their work in the 80s and 90s reminded everybody that Bubbles was the key innovator,” declares Adamson.

So why Music For Pleasure and Armed Forces?

“These are both fine illustrations of quotation and bricolage,” says Adamson. “The lifting of Kandinsky for The Damned cover was combined with an interesting play of typography; Bubbles took something non-typographic and turned it into letter-form in a neo-Dadist leap of imagination.

“And the understanding that Kandinsky was a modernist meant that Bubbles was literally being ‘post-Modern’ by re-purposing his repertoire.”

Adamson believes Armed Forces to be the best-ever example of bricolage in record sleeve design.

Musician portraits on four offcut cards supplied with Armed Forces.

Backs of the offcut cards with repeat chevron motif and exhortation"Don't Join".

“Nothing comes close; it’s so explosive, folding out into space in an architectural way,” enthuses Adamson. “The design seems endlessly creative, like he’s got more ammunition to bring to it than can ever be absorbed by the object. We always say ‘Postmodernism is always a little too much’, and Armed Forces meets that definition.”

And the ingenuity of the design accords with postmodern principles.

“The ultimate 80s cliche was ‘Thinking outside the box’,” says Adamson. “That was literally what Bubbles did with Armed Forces. We know there’s a lot of crap postmodernism, but at it’s best – as in the work of Barney Bubbles – it is ingenious, rethinking format and crossing disciplinary lines.”

Postmodernism: Style and Subversion 1970-1990 is at the V&A from September 24 2011 to January 15 2012. Details here.

Poster, 60in x 40in, Live Stiffs tour, 1977.

This Larry Wallis poster design – one of five of the stars of the 1977 Live Stiffs tour – is among 20 or so examples of Barney Bubbles’ work included in Rude & Reckless, the punk and post-punk graphics exhibition opening tomorrow (July 21) at NYC’s Steven Kasher Gallery.

The show samples the collection of New York resident Andrew Krivine, who started accumulating records, posters, flyers and ephemera during family visits to the UK in the late 70s.

The teenage collector was given a fast-track to London’s music scene via his fashion entrepreneur cousin John Krivine, one of the founders of musician-haunted King’s Road boutiques Acme Attractions and Boy.

“Over the summers of 1977 and 1978  I became obsessed with punk, and was particularly drawn to Stiff Records and its extraordinary promotional materials,” says Krivine.  ”I visited the Stiff store several times and hoovered up whatever materials weren’t nailed down, in the process becoming a big fan of Barney’s work.”

The Bubbles designs in Rude & Reckless include two more of  the Live Stiffs posters as well as items relating to Elvis Costello, The Damned, Nick Lowe, The Rumour and Ian Dury & The Blockheads.

Rude & Reckless: Punk/Post-Punk Graphics 1976-1982 also features work by Michael Beal, Peter Christopherson, Nick Egan, Malcolm Garrett, Jamie Reid, Parched Art, Peter Saville, Linder Sterling and X3 Studios.

Full details and a selection of exhibits here.

Also opening tomorrow at the same gallery is Musicians, a show including portraits of many punk and post-punk artists by photographer Laura Levine.

7in sleeve + record with custom label. Stretcher Case Baby/Sick Of Being Sick, The Damned, Stiff Records, 1977.

A backlog has been steadily building of Barney Bubbles designs to be added to the singles + album sleeves section of this site.

We’ll be getting round to sorting the listings out soon with much more fabulous artwork, but the recent contact with Kosmo Vinyl has spurred on the addition today of Bubbles’ sleeve for The Damned’s free single Stretcher Case Baby/Sick Of Being Sick, issued in the summer of 1977 to celebrate the first anniversary of the band’s debut gig.

Clockwise from top right: front cover; label A-side; label B-side; back cover.

Stiff pressed up a run of 5,000 copies to coincide with the gigs The Damned were booked to play at The Marquee from July 3-6 1977.

Members of the band’s fan club, Damned Disciples, were also sent copies and 250 were given away via the NME.

“I watched Barney put the design together,” says Vinyl of the sleeve, which – complete with custom label – amped up The Damned’s Gothic tendencies by using Charles Allen Gilbert’s fin-de-siecle illustration All Is Vanity: the image of a woman looking at herself in a mirror forms the outline of a death’s head.

60in x 40in poster, 1977.

On the front and label is the band logo Bubbles had recently created. This also appeared on his large Damned poster featuring lead singer Dave Vanian in full Nosferatu mode.

Bubbles also designed another poster for the residency.

“The Marquee gigs were canceled after  a row over the positioning of a row of the ‘Dave Vanian’ posters – one of my favourite Barney designs – across the back wall, covering up the Marquee logo,” says Vinyl.

“Jake (Riviera, The Damned’s manager and Stiff co-founder) pulled the shows, though I can’t remember if the first one went ahead anyway.  If it did it would have been because the house was already full.”

Gilbert’s illustration was also used for the front cover of Def Leppard’s 1993 album Retro Active, while Bubbles’ version with the Damned logo is available on t-shirts.

Top photo from King Bee.

To coincide with recent exhibition Process: The working practices of Barney Bubbles, a short run of t-shirts was produced featuring The M!ss!ng L!nk tattoo Barney Bubbles created for drummer Rat Scabies in the early 80s.

“Barney said he always thought of me as the original missing link,” says the former member of The Damned in Reasons To Be Cheerful.

Scabies hasn’t been able to locate the copy of the design Bubbles gave him for several years, so was delighted when the original turned up during research for the show. And he has vowed to finally have the tattoo inked; we have recommended a decent parlour and will keep you informed of developments.

Original artwork, pen and inks on card, early 80s.

With other examples of artwork on display at Process.

The original artwork – the broken links form a rat’s face – was a particularly popular exhibit among visitors to Process.

Rat has given the tees – on which the logo is inverted – two thumbs-up. It’s surely a testament to BB’s brilliance that the design remains full of impact. And, when wearing one, you look down at your chest and there’s a rat staring back at you…

There weren’t many produced and most went during the run of the show. However, there are some left  at £10 each in L (40″ chest) and XL (42″ chest).

These two sizes are modeled here by the talented and handsome Chelsea Space assistants Gyeyeon Park and Mike Iveson, both artists in their own right.

To order your t-shirt go here.

Check out the Barney Bubbles references in this clip for Kim Ann Foxman’s track Creature.

Copies of the 24-page Barney Bubbles exhibition booklet are now available exclusively from this site.

Click on the Process exhibition booklet link in the right hand column.

Featuring the cover image of the ingenious hammer & sickle artwork for Nick Lowe’s 1979 album Labour Of Lust, the illustrated booklet includes:

• Title sticker (in ‘process magenta’)
• Introduction by author Paul Gorman
• Overview of Barney Bubbles’ design practices
• Photograph of Barney Bubbles creating set design for cover of Carlene Carter’s Musical Shapes
• Letter to Barney Bubbles from client Line Records
• Design for The M!ss!ng L!nk tattoo for The Damned drummer Rat Scabies
• 18 images including original artwork, sketches and photography for Elvis Costello, Dave Edmunds, Hawkwind, Clive Langer & The Boxes and Whirlwind

PRICE INCLUDING POSTAGE
Postage to UK £6.00 Postage to Europe £6.50 Postage Worldwide £7.00

PRICE INCLUDING POSTAGE
Postage to UK £6.00 Postage to Europe £6.50 Postage Worldwide £7.00

The Damned, Simon Periton, 2002.

At last week’s private view, Stolper revealed that the piece on which the show turns is Simon Periton’s The Damned, since it acknowledges the first collage, Picasso’s 1912 composition Still-Life With Chair Caning.

Still-Life With Chair Caning, Pablo Picasso, 1912.

The Damned is from Periton’s period of producing intricate paper cut-outs (which he christened “doilies”) and is of course based around the front cover of Neat Neat Neat, the second single by – who else? – The Damned.

Front cover, Neat Neat Neat/Stab Yor Back/Singalonga Scabies, The Damned, Stiff, 1977.

Periton – whose recent work includes The Beezlebag for “art-eco-fashion” brand Issi and a few years back the cover of Pulp’s Hits collection – was intrigued to find out that the Neat Neat Neat sleeve is a key work for Barney, since it marked his re-entry to the fray in February 1977.

Front cover, Hits, Pulp, Island, 2002. Simon Periton/Sadie Coles HQ after photographs by Willie Seldon.

As Stiff Records and punk rock went nationwide, Barney introduced a purposeful clarity which not only elevated the label out of the pub-rock cheekiness of it’s early months but set the tone for the new wave picture sleeve boom of the next few years. In doing so, Barney also laid the foundations for the richest and most triumphant phase of his own career.

Simon Periton at last week's private view.

Periton has now moved away from cut-outs to painting on glass; The Damned dates from 2002. Read all about him and his work in Michael Bracewell’s monograph, and, if you’re in town, catch The Term Reality; it’s on until August 3.

7in sleeve, laminated card. Front cover, Whole Wide World/Semaphore Signals, Wreckless Eric, Stiff, 1977.

Overshadowed during the early days of Stiff Records by the label’s priority acts Elvis Costello, Ian Dury and Nick Lowe, the 2001 publication of Eric’s great memoir A Dysfunctional Success and the use of the deathless Whole Wide World in Will Ferrell-starrer Stranger Than Fiction have provided the, er, wider world with a taste of his talents in recent years.

Over the coming weeks, the considerable fruits of his partnership with US singer-songwriter Amy Rigby can be witnessed first-hand on a series of European live dates.

In comparison with his former stablemates, Eric Goulden benefited fleetingly from the design work of Barney Bubbles, though they maintained a friendship from introduction early in 1977 to Barney’s death late in 1983; they shared common ground in having attended art schools (Goulden studied sculpture at Hull).

On the line from his home in France, Goulden confirms that Barney wasn’t at Stiff for the first six months of the label’s existence, when the design direction was handled by Chris Moreton.

“Then Barney swam into the picture,” says Goulden. “I liked him a lot. Barney was easygoing and looked kind of normal; short-ish hair and always wearing some kind of anorak. To look at him, you wouldn’t have thought this bloke had any history.

“He was a strange man, an acid casualty on some levels. It was unusual for someone who’d been such a part of the Ladbroke Grove/Notting Hill hippie scene to cross over and working with people like The Damned.”

Barney created an ident (which, like those produced for other Stiff artists, appeared on the record label). “He used the guillotine to cut jagged strips of paper which he put together to make up my name,” says Goulden. This logo was paired on the front cover of Whole Wide World with a crop from the Chris Gabrin portrait from A Bunch Of Stiffs.

From the inner to A Bunch Of Stiffs, April 1977. Photo: Chris Gabrin.

For the back, Goulden was despatched to a photo-booth and ordered to improvise semaphore signals. Barney then cropped and bleached out one of the frames. “I’d never seen anything like it; he made it look incredible,” Goulden adds.

7in sleeve, card. Back cover, Whole Wide World/Semaphore Signals, Wreckless Eric, Stiff, 1977.

“To me Barney was like The Beatles. When I was a kid you wouldn’t be quite sure of how they sounded when you first heard one of their new records. Sometimes you’d think: ‘They’ve lost it,’ because it was so unexpected, and Barney was a bit like that. Every time he did something new, it was so over-the-top you were taken aback.” 

A clutch of 1977 Stiffs with personalised labels.

One of the five subjects of the 60in x 40in day-glo posters Barney and Gabrin created for the Stiffs Live Stiffs tour of late 77, Goulden was around when the pair collaborated on the sleeve for Music For Pleasure.

12in sleeves. Back cover and inner "lino" shots, Music For Pleasure, The Damned, Stiff, 1977.

“I went with him to a lino shop in Westbourne Grove where he bought the roll which is on the inner sleeve,” says Eric. “The Damned were made to lie on it at Chris’s studio and shot from above, so it looked like they were standing up. Very odd, but it worked brilliantly.”

One of Barney’s great lost designs was the sleeve for Goulden’s unreleased 1977 Stiff EP, Piccadilly Menial. With the catalogue number LAST3, this was to comprise the title track, Excuse Me, Personal Hygiene and Rags & Tatters .

“It was on graph paper and in the style of an architectural drawing,” says Goulden, who recalls  it was akin to the axinometric lettering Barney created for The Soft Boys. The EP was replaced in the schedule with Reconnez Cherie,  the B-side of which was the Benny Hill theme tune-quoting Rags & Tatters.

Music press half-page advert, The Soft Boys tour, 1978.

“Barney had angles to him,” says Eric. “People would say ‘Oh it’s just Barney, a bit of a wacky image with some splashes and other esoteric stuff’ but in fact he thought things through and was way better than his imitators, of course. Unfortunately, in that way, he inadvertently created the look of the 80s, which was horrible and gaudy.”

Dansette, detail, front cover Musical Shapes, Carlene Carter, F-beat, 1980

Poignantly, Goulden saw Barney not long before his death in November 1983. ”I visited him at his house off the Balls Pond Road,” says Eric. “He got Nuggets out and played it really loud on this Dansette on legs in the basement.”

Artwork for music press ad, May 1978. (c) Phil Smee Collection/Reasons 2010.

Captioned: “A new single. A new shirt. You can’t take it off”, the ad – with the record company Radar’s logo as the shirt label – appeared in music paper Sounds.

7in card envelope. Back and front, Little Hitler/Cruel To Be Kind, Nick Lowe, Radar, 1978.

Housed in a sleeve designed by Barney using a Brian Griffin photograph, Little Hitler set the scene for the release of Nick’s debut solo album Jesus Of Cool (renamed and remodelled as Pure Pop For Now People in the US).

12in paperboard. Front cover, Jesus Of Cool, Nick Lowe, Radar, 1978.

The ad’s theme of sharp apparel was carried over to the album with Barney-designed skinny new wave ties issued as promotional items.

Jesus Of Cool promotional tie. (c) Diana Fawcett Collection/Reasons 2010.

Here’s Nick – tie-less – performing Little Hitler. It failed to make an impact on the chart (unlike predecessor I Love The Sound Of Breaking Glass), but further brought him out of the production shadows of such high-profile clients as Elvis Costello, The Damned, Dr Feelgood and Graham Parker. 

And a reworked version of Little Hitler’s b-side Cruel To Be Kind was to provide Nick with the biggest hit of his career the following year. But that’s a whole other story…

Damned Damned Damned special edition artwork. (c) Jake Riviera Collection/Reasons 2010.

On the album’s release in February 1977 the story was put about that distributor Island Records had mistakenly positioned an Erica Echenberg photograph of new wave r&b band Eddie & The Hot Rods in place of a live shot of The Damned at London punk venue the Roxy .

Left: 12in card. "Printing error" back cover. Right: Erratum sticker.

Barney and Stiff boss Jake Riviera went so far as to add an erratum sticker, explaining: “Due to Record Company error, a picture of Island recording artists Eddie & The Hot Rods has been printed instead of The Damned. We apologise for any inconvenience caused and the correct picture will be substituted on future copies.”

12in card. Damned Damned Damned back cover, standard release, Stiff Records, 1977.

In fact the “error” was intentional; Jake had worked out that Stiff needed to sell 2,000 copies to recoup the cost of recording and producing the first UK punk album release.

12in card. Damned Damned Damned front cover. Photo: Peter Kodick.

With Barney recently installed as Stiff’s art director, Jake was able to create an instant collectible, all the while keeping the Island executives involved in the newly-inked distribution deal on their toes.

12 in. Limited edition shrink-wrapped sleeve with "food-fight" sticker.

And the trick worked. Media coverage of the “error” helped rustle up interest and propel the Nick Lowe-produced album into the UK Top 40, establishing The Damned as an act to rival The Clash and the Sex Pistols commercially.

A very limited number of albums were also shrink-wrapped and featured a red “food-fight” sticker completing the title Damned Damned Damned. These now fetch up to £500 apiece.

“By the time Barney had finished, you could imagine our covers competing with whatever else is out there,” says Rat Scabies. “He understood that, much as Stiff was a lot of fun, the releases had to have commercial appeal.  At the same time he made it edgy and kind of sinister.”

Left: 12in card, front cover, "Bongos Over Balham", Chilli Willi And The Red Hot Peppers, Mooncrest, 1974. Right: Sleeve detail.

At once a savvy marketing maneouvre and a keen artistic intervention, the printing error stunt is a prime example of Barney’s wily approach, particularly when working with Jake: see also the Bohemian Revivalist Series Vol 2 “sticker” on the sleeve of Chilli Willi And The Red Hot Peppers’ 1974 album Bongos Over Balham and the deliberately off-register sleeve of Elvis Costello & The Attractions’ 1978 release This Year’s Model.

Left: 12in card. Front cover, This Year's Model, Elvis Costello & The Attractions, Radar, 1978. Right: Sleeve detail with sticker and exposed colour code.

Similarly the bogus Stiff “voucher” which appeared on the back of the August 1977 release of Ian Dury’s single Sex & Drugs & Rock & Roll; the voucher had just been introduced on the Barney-designed sleeve of the preceding single, Wreckless Eric’s (I’d Go The) Whole Wide World.

Left: 7in card, back cover, Sex & Drugs & Rock & Roll, Ian Dury, Stiff records, 1977. Right: Sleeve detail - cut-out "voucher".

Sex & Drugs & Rock & Roll bore the catalogue number BUY 17, which Barney had allocated to the Damned Damned Damned artwork as a positional several months earlier. At that time Riviera and his Stiff partner Dave Robinson had not quite settled on a separate numbering for album releases (which were allocated the prefix SEEZ; The Damned’s debut was SEEZ1).

Pen and ink on paper. Details, Damned Damned Damned artwork, 1977.

Barney also decorated his artwork with a sketch of a “100% Guaranteed Refund” sticker and typically twisted marketing slogans: “To clean use a barely damp Brillo pad” advises a vertical instruction, and the sentence along the bottom reads: “Long range full frequency stereo ersatz recording. Play at 33 1/3 rpm.”

In the event, the final back cover of the album carried the nonsensical note: “Made to be played loud at low volume.”

Design credit, Damned Damned Damned, 1977.

And in final flourish, Barney adopted one of his finer pseudonymous credits: Big Jobs Inc.