More Jack Davis art from my collection, a beautiful Electric Company album including gatefold, code wheel (or crypto spectometer) and comic with Davis art alongside Joe Kubert and more. Also below are some soundtracks, Salt & Pepper, The Russians Are Coming and The Sound of Sight.
Where do you begin with Jack Davis? I first saw his work in the UK versions of MAD magazine in the 80s but he had been producing countless numbers of comics, illustrations, record covers and film posters for decades before that. He was one of the original ‘usual gang of idiots’ from US MAD’s inception in the 50s, a regular on Tales From the Crypt, producing the cover for the later issues, as well as war comic Two-Fisted Tales and a ton of other EC Comics. He drew some of the best monsters including the classic Frankenstein which was made into a life-size cut out poster (see below).
He worked for a lot of the MAD-a-like humour titles too like, Sick, Cracked, Help and Panic as well as regular work with publications such as Time and TV Guide. He has a huge body of film posters to his name, It’s a Mad, Mad, Mad, Mad World being a particular classic, which in turn led to record sleeves for the soundtracks. From here he drew sleeves for music from rock to country to brass bands to soul, I have a particularly great Sesame Street album with Davis art all over it which I’ll post soon.
He was a legend of comic art, up there with Jack Kirby and Moebius, RIP
Whilst researching the Dreaming with Stanley Kubrick exhibition last week I dug into the iconography of A Clockwork Orange, looking up David Pellam‘s classic Droog design for Penguin (above) first revealed several earlier book covers and then the tidal wave of fan film posters. Cogs, eyes, eye lashes, milk glasses and, of course, the colour orange were in abundance. There were several great ones that managed to capture both the era and the menace of the film as well at a very nice Gorillaz droog wallpaper by Jamie Hewlett.
Gamma Proforma are dropping all sorts of treats and freebies on their site, here’s a taster for an upcoming LP on the label from Deflon Shallahr. All artwork by the amazing Will Barras.
Divine Styler remixed: Over the coming weeks Gamma will be dropping the complete set of Def Mask Remixes, grab the digital album for free and each week you’ll receive a new track. Here’s Mophono‘s take on ‘Carriers IQ’
Second track from the forthcoming Juice Aleem album…
The Daydreaming With Stanley Kubrick exhibition started a few weeks back at Somerset House in London’s West End and it’s well worth a look. Curated by James Lavelle, it features many familiar names that hint that his phone book must be a thing to behold. Artists, film makers and musicians from around the world have contributed but with over 40 pieces to look at there’s always going to be some stronger than others.
For the most part, I enjoyed the more literal, graphic interpretations; the hexagon-patterned floor from The Shining, Space Invader‘s Rubix-cubed Alex from A Clockwork Orange and Doug Foster’s homage to the stargate scene in 2001, ‘Beyond The Infinite’ – a mesmerising widescreen kaleidoscope that constantly shifted to a soundtrack by UNKLE. I was surprised there wasn’t more reference to Hal from 2001 outside of some of the graphics for the exhibition branding though and there was a missed opportunity to do something with Kubrick toys seeing as James has had an affinity with them for so long.
One of my favourite pieces was Philip Castle‘s 70s airbrushed illustration for the original film of Alex with dentures in a glass. Unfortunately this was represented as a slide blown up rather than the original painting but it still had enough presence, menace and period textured beauty to outshine most of the other exhibits.
Elsewhere, several installation pieces were the most successful in invoking Stanley’s spirit. A vertical pulsing strip of LED lights by Chris Levine burned images onto the retina from the end of a corridor so that, when you looked away, you saw split second flashes of Kubrick’s face. A ‘breathing’ camera by Nancy Fouts, sat eerily in another corner, rasping in and out to itself. A room of 114 wireless’ all tuned to the same channel in a dimly-lit workshop created a WWII-like atmosphere and the exhibition guide revealed that a huge cast of celebs had made the soundtrack playing through the tinny speakers. Peter Kennard‘s ant-war collages were further bolstered by additions from Dr. Strangelove although it felt largely transplanted from his recent Imperial War Museum exhibit with some added Kubrickisms.
Possibly equal to Foster’s AV piece was Toby Dye‘s small room showing four different scenes from The Corridor, each one using a Kubrick technique of focus pulling in or out of a centralised corridor. This, when shown full frame on each of the four walls, gave the viewer a sense of unease or vertigo as the walls appeared to shift around them. Very effective if off-balancing. David Pellam‘s classic Droog design featured twice, once in the show branding and once in Paul Insect‘s updating of his work, ‘Clockwork Britain’. An iconic design, connected with Kubrick by the simplification of his visualisation for the Droogs, it sits alongside the Shining carpet as a graphic motif instantly connected to his films. A VR headset with interior 2001 space station scenario was also installed but the queue was just too long so don’t head to it at peak weekend hours if possible.
I just discovered John Mahoney‘s work via the latest issue of Heavy Metal magazine – which now has a new lease of life with Grant Morrison installed as Editor-in-cheif – these are scenes from his psychedelic ‘novel’, ‘Zentropa‘. His style reminds of elements of Moebius, Egon Schiele or Hans Bellmer‘s multi-limbed dolls. He also sculpts in both real and virtual applications and has worked as a concept artist for many big hollywood films. Learn more here
I just got my beautiful Altered States print from Glass Siren Studios framed – what do I see in the inbox this morning? 50% off sale until the end of July. His prints are already a steal at £75 and under but this is just too good to pass up. Photos can’t do these prints justice IMO, use the code below when ordering from www.glasssiren.co.uk
This amazing late 70s Hunt Emerson poster is on eBay right now with less than 2 days to go, never seen it before, probably never will again.
This is a new comic Kickstarter from Kody Camberlain (remember Punks – the comic that I raved about last year?) This time round Kody is writing rather than illustrating. It’ll be a 5 issue, 32 pgs per issue, series if it gets funded and I think many of a certain age will identify with the story’s angle, below:
“SMUT AND JEFF is not a porn story, it’s a story about scarcity. It’s an homage to the quest for those unattainable treasures of youth before the internet took hold of humanity. A time when search engines were librarians and encyclopedias. Beyond that, and unknown to many, there was a secret underground of information spoken softly in certain areas of the cafeteria and the movie theater parking lot. With enough information, a bold teenager might venture into an unknown neighborhood to purchase a hip hop album the stores wouldn’t dare carry. SMUT AND JEFF is a tribute to those noble quests of the 80s, and the adventurous youth that dared embark on the adventure.”
Read the 6 page preview and then maybe check out the different packages on the Kickstarter? You can get original art, meet the creators or even be drawn into the book
(Above) An advert for the Forever People comic shop in Bristol, taken from issue 4 of Street Comix (ArZak 1977) (Below) A pair of lesser-seen ads by Hunt from the back pages of Sounds, the Xmas one being from Oct 11th 1980. You can see how much more detailed his style was at the start of the decade.
(Below) Emerson‘s Jester character on the warpath for a Knockabout comics carrier bag from the late ’80s. 
I just received this gorgeous screen print from Glass Siren Studios – check out their site for more amazing designs – not sure how many colours this is but it’s a work of art.
This weekend I visited the Yorkshire Sculpture Park for the final week of the KAWS and Eduardo Paolozzi exhibitions (not shown but awesome). Highly recommended but only one week left! I’ll let the pictures do the talking, they’re mainly KAWS but there are some other incidentals from the park added in too.
I’ve always been fascinated by this cover art, the artist is simply listed as ‘Corrigan’. On the back of the Castor LP it has a passage about the cover, possibly written by Corrigan (?):
“The illustration depicts Jimmy Castor in a double role: as a Gemini and Cancer personality. Gemini’s aspects are described as egocentric, intellectual and airy. Castor’s egocentric aspect is affirmed by his unconcealed face; his intellect is symbolized by the tube running from a fitting on his temple to a fitting in the musical tree. His mind drives his music. A second tube runs on to a small cluster of clouds hovering near Castor’s head, symbolizing his airy and mutable nature. Castor’s Cancer aspects are symbolized on the right by the slum tenement which rises out of wasteland. Castor is directly above a large opening in a wall containing his heart; this serves to stress Cancer’s intuitive qualities. Castor’s face is partially concealed to correspond to the introverted nature of Cancer personalities. The tube which runs from his heart is attached to an armored egg; spilling out of the egg are three elements associated with Cancer: the moon, water and food. The prehistoric, “Troglodyte”-like figures are the end products of the intellectual, emotional and astrological input of Castor from above.”
After a bit of help from fellow facebook-ers, it seems the man responsible was Dennis Corrigan, a surrealist American illustrator who only has one other record sleeve listed on Discogs (The New York Rock & Rock Ensemble, front and back covers below).
Still with us and now teaching at Marywood University in Pennsylvania, he has work in various art institute collections and illustrated for the likes of The New York Times, Random House, Pan American Airways and more. He’s had several books of his work published, ‘The Amusement Park’ from 1982 and ‘True Love Knows No Boundaries’ from just last year. You can find more about his weird world at his website, Dennis Corrigan Artist.
Ted Coconis – love this cover art, he didn’t do many record covers but the ones he did are beautiful.
Just saw this via the Imaginary Cities Twitter feed – an animated gif version of Nelson Daniel‘s cover for Judge Dredd #30 from US publishers, IDW. Below is some of the work in progress from his Deviant Art page.
Amazing! From Mark Bodé‘s Facebook page:
“Never before published Vaughn Bode story. Vaughn presented this to his college professor at Syracuse University as a gift. Its so great to see new stuff after 41 years like finding a new unrecorded song by Jimi Hendrix out of the blue. This has risen up for auction at Heritage Auctions May 13th and 14th by the family it was gifted to. Thanks to John P Rovnak for bringing it to my attention. I was able to save large files for future printing of the art. Enjoy!!!”
The Alan Kitching exhibition at Somerset House is fantastic, a huge collection of letterpress posters, experiments and book designs that stretch the medium to its limits. It’s only on until May 2nd so be quick, Alan is also doing live, Utopian-themed demonstrations between 12 – 3pm on Saturday 30th April and Monday 2nd May.
This is ‘Beneath The Tree’ by John Vernon Lord, a British artist probably best know for illustrating the children’s classic ‘The Giant Jam Sandwich’ or Deep Purple‘s ‘The Book of Taliesyn’ album cover. The image is huge, 122 x 244 cm, and was drawn in 1966. Nobrow have published a book of his work entitled ‘Drawn To Drawing’ which is well worth a look with over 300 illustrations.
I did a gig with Ameet Hindocha, aka Ambigraph, last summer and we ended up collaborating on an audio visual alt. soundtrack to Dune. I was so impressed with his geometric designs I asked him to do me a commission based on a complex pattern we both chose. Here are some work-in-progress shots and the final thing, all hand drawn, no computer was used, just pen, pencil and ruler. See more of his work here
