Weekend links 291

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Femme avec des fleurs (1912) by Romaine Brooks.

• This week’s anniversary of the Charlie Hebdo murders was noted by some of those who defended the magazine last year. “I don’t write about Charlie Hebdo in France,” said Robert McLiam Wilson, “they have plenty of people who can do that. But I’ll do almost anything I’m asked to do in the anglosphere. Why? Well, two reasons. Because none of the other Charlie people bothers to do it. And because, really, that’s where all the bullshit lives.” A year on, and the bullshit-mongers seem to have fallen silent, what with knee-jerk outrage being a short-lived affair, and the Bataclan massacre having demolished one of the main criticisms, namely that the magazine wouldn’t have been attacked if the artists and writers had shown some respect. “[Charlie Hebdo‘s] real crime is not racism but its challenge to what has become an unbreakable commandment for many contemporary liberals: ‘Thou shalt not cause offence’,” says Kenan Malik. At Literary Hub Adam Gopnik explored the same issue in a foreword for Stéphane Charbonnier’s Open Letter.

• “Immersion in the past is no escape from the present, but it supplies a constant corrective to the narrative spit out daily by media, advertising, politics, and all those other forces that attempt to mould our thinking like jelly in a pan.” Luc Sante (again) talking to Simone Wolff about his books, Low Life and The Other Paris.

• “…throwing a lot of money behind vintage equipment? Well, that’s just a millionaire’s game. Dave Grohl can do that, but David Bowie doesn’t care about that. Just stick a microphone in front of him and he’s really happy.” Tony Visconti talking to Allyson McCabe about the music business and producing Bowie.

• “Nico Hogg’s photography captures the transformation of urban London,” says George Kafka who talks to Nico about a collection of his work, Sign & Signifiers, which I designed late last year.

• At Strange Flowers: James Conway talks to Cassandra Langer about her recent biography of artist Romaine Brooks (1874–1970).

• At Dangerous Minds: Godzilla, girls and guns, the science-fiction art of Noriyoshi Ohrai. There’s more at Pinterest.

• Mixes of the week: XLR8R Podcast 420 by Andrey Pushkarev, and Secret Thirteen Mix 172 by Julien Bayle.

• Alan Moore’s magnum opus, Jerusalem, will be published later this year. Gosh Comics has a teaser.

New York Public Library makes 180,000 high-res images available online.

Prints of darkness: macabre vintage posters

Scarfolk Television is coming

Godzilla (1977) by Blue Öyster Cult | Giant Robot / Machines in the Modern City / Godzilla (1992) by Praxis | Free-Bass (Godzillatron Cush) (1995) by Axiom Funk

El Lissitzky record covers

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Your Generation (1977) by Generation X. Design by Barney Bubbles.

Continuing an occasional series about the work of particular artists or designers being used on record sleeves. El Lissitzky (1890–1941) is an interesting candidate in this area since his pioneering abstractions have greatly influenced subsequent generations of graphic designers. As a result of this you’re just as likely to find his Suprematist style being pastiched on an album cover as find one of his paintings decorating the sleeve. Pastiches are difficult to locate unless you already know they exist—or unless the album credits acknowledge the style they’re imitating—so this list will no doubt be incomplete.

Barney Bubbles’ design for the debut single by Generation X is the earliest example I’m aware of that makes use of the El Lissitzky style. It was also one of Bubbles’ first sleeves for a punk band, and a significant break with his often florid hippy designs.

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Die Mensch Maschine (1978) by Kraftwerk. Design by Karl Klefisch, “inspired by El Lissitzky”.

Kraftwerk’s seventh album uses Lissitzkian typography and graphics on its front and back covers. A very popular album with the post-punk crowd that would have been the first introduction for many people to El Lissitzky’s name. Kraftwerk still use that vibrant arrangement of black, red and white in their stage shows.

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B-2 Unit (1980) by Riuichi Sakamoto. Design by Tsuguya Inoue.

More pastiche, this time borrowing from El Lissitzky’s Suprematist book for children: About Two Squares: In 6 Constructions: A Suprematist Tale (1922). The book’s two characters of a red square and a black square appear on the vinyl labels. This is a great album, incidentally, still my favourite by Sakamoto.

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