{design} – Page 196 – { feuilleton }

Ver Sacrum, 1900

Continuing an occasional series of posts about Ver Sacrum, the art journal of the Viennese Secession. The collected issues for 1900 undergo a change of design, and not necessarily for the better. Gone are the decorative covers of previous years, replaced by small emblem-like vignettes for each issue. The one above is a design by Gustav Klimt whose work is featured throughout this year. Other familiar names include the Belgian Symbolist Fernand Khnopff, Ludwig von Hofmann and Marcus Behmer. The page design is generally less interesting, unfortunately, although the magazine did retain its square format and there are many impressive examples of Art Nouveau graphics. The complete set of pages for this volume can be viewed or downloaded here.

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Klapheck versus Ballard

left: The Hostage (1966); right: The Female Terrorist (1971). Both by Konrad Klapheck.

No, I’m not suggesting that David Pelham’s paintings for the Ballard covers he designed in the 1970s are inspired by the earlier work of German artist Konrad Klapheck. But it’s tempting to think of Klapheck’s isolated objects as being intended for Ballard collections that never saw the light of day. Klapheck has connections with late Surrealism, and some of his paintings prefigure the styles and concerns of Pop Art, so I’m sure Ballard would have approved.

Three of Pelham’s memorable Ballard paintings were made available as signed and numbered prints earlier this year, together with his design for A Clockwork Orange. For more about the covers see Landscapes From a Dream: How the Art of David Pelham Captured the Essence of JG Ballard’s Early Fiction, an essay at Ballardian. The designer discussed his career at some length in 2007. Then there’s the complete set of covers at the Penguin Science Fiction site, and let’s not forget Konrad Klapheck who’s still painting and who has a website here.

Elsewhere on { feuilleton }
• The book covers archive

Ver Sacrum, 1899

Another post about Ver Sacrum, the art journal of the Viennese Secession and one of the world’s major art magazines during its short run from 1898 on. This is another digitised edition from the University of Heidelberg’s archive and is the second volume of the journal’s monthly issues. It’s difficult to make a small selection from over 450 pages of high-quality Art Nouveau graphics and design so I’ve mostly chosen the covers again. Anyone wanting to see more is encouraged to download the whole volume or browse individual pages here.

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Weekend links 81

Black Cat on a Chair (1850–1860) by Andrew L Von Wittkamp.

• “A little bit of acid, lots of weed, and too much Castaneda and I was ready to move from the magical realm of Middle Earth into a world that was much stranger than any involving hairy dwarves and white wizards…” Too Much to Dream by Peter Bebergal, “a psychedelic American boyhood”.

This year’s Booker prize isn’t about the power of the new – there’s no experiment with form or strangeness of imagination. The winner may get on the bedside tables of middle England, but that’s not as important as changing the way that even one person dreams.

Jeanette Winterson throws the cat among the pigeons.

• 50 Watts continues to show us things you’d be hard-pressed to find elsewhere: illustrations by TagliaMani from a new edition of Les Chants de Maldoror, and War Is a Verb, collages by Allan Kausch.

• Don’t go in the swimming pool! Coilhouse directs us to Fantasy: music by French outfit DyE with a weird and nasty animation by Jérémie Périn.

• Ace album cover designer and photographic Surrealist Storm Thorgerson is having another exhibition at IG Gallery, London.

• The Art of Leo and Diane Dillon, an art and illustration archive.

• John Turturro reads a short story by Italo Calvino.

• Spaceport America by Foster + Partners.

• Your Body of Work by Olafur Eliasson.

• Wonder-Cat cures all ailments.

• Blogging Moby-Dick.

• Krazy Kat (1927) by Frankie Trumbauer & His Orchestra with Bix and Lang | Pussy Cat Dues (1959) by Charles Mingus | Katzenmusik 5 (1979) by Michael Rother | Big Electric Cat (1982) by Adrian Belew | Purrfect (1996) by Funki Porcini.

Wroblewski covers Burroughs

Picador, 1982.

Being an occasional cover designer I naturally have a more than passing interest in how the books of favourite writers are packaged. I’ve mentioned a couple of times how much I liked the covers that Thomi Wroblewski produced in the 1980s for UK editions published by Picador and John Calder. Wroblewski is a designer who also creates his own artwork using a variety of media, with some form of collage being a common technique. Burroughs has had a number of decent designs over the years but Wroblewski is one of the few people loosed on his books who seemed to fully appreciate the tenor of the writing, and was able to convey something essential without ever being too abstract or too illustrative. I’d have been happy to see him design a complete range of the titles.

Picador, 1982.

Most of the covers here have been swiped from the excellent Burroughs page at Beat Book Covers where you can judge Wroblewski’s work against other editions. An exception below is the art for an unknown edition of The Wild Boys, a picture described as being from 1988 so it may have been on a Picador cover I’ve never seen. The only cover at Beat Book Covers using that art is a later Russian edition. If anyone can say when and where Wroblewski’s picture was first used, please leave a comment.

Calder, 1984.

Also below is an album cover from Wroblewski’s parallel career as a music designer. Minutes was an audio magazine released in 1987 on the LTM label, and is included here since two of the tracks were Burroughs readings. The album has never been reissued but a copy from the vinyl can be downloaded here. Worthwhile mainly for WSB and Winston Tong of Tuxedomoon.

For more about the elusive Thomi Wroblewski, Momus wrote something about him a couple of years ago. There’ll be more about The Wild Boys, and Winston Tong, tomorrow.

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