{"id":15610,"date":"2014-08-18T02:36:54","date_gmt":"2014-08-18T01:36:54","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=15610"},"modified":"2014-08-18T15:09:46","modified_gmt":"2014-08-18T14:09:46","slug":"el-lissitzky-record-covers","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2014\/08\/18\/el-lissitzky-record-covers\/","title":{"rendered":"El Lissitzky record covers"},"content":{"rendered":"

\"genx.jpg\"<\/p>\n

Your Generation (1977) by Generation X. Design by Barney Bubbles.<\/em><\/p>\n

Continuing an occasional series about the work of particular artists or designers being used on record sleeves. El Lissitzky (1890\u20131941) 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\u2014or unless the album credits acknowledge the style they’re imitating\u2014so this list will no doubt be incomplete.<\/p>\n

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.<\/p>\n

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Die Mensch Maschine (1978) by Kraftwerk. Design by Karl Klefisch, “inspired by El Lissitzky”.<\/em><\/p>\n

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.<\/p>\n

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\"sakamoto1.jpg\"<\/p>\n

B-2 Unit (1980) by Riuichi Sakamoto. Design by Tsuguya Inoue.<\/em><\/p>\n

More pastiche, this time borrowing from El Lissitzky’s Suprematist book for children: About Two Squares: In 6 Constructions: A Suprematist Tale<\/a><\/em> (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.<\/p>\n

\"sakamoto2.jpg\"<\/p>\n

<\/p>\n

\"aupairs.jpg\"<\/p>\n

Sense And Sensuality (1982) by The Au Pairs.<\/em><\/p>\n

Another borrowing from A Suprematist Tale<\/em> only now the reds have turned pink. Not a very adept use of typography which is a considerable failing when the book the artwork is copied from contains many better suggestions.<\/p>\n

\"thewake1.jpg\"<\/p>\n

Something Outside (1983) by The Wake. Artwork: Beat the Whites with the Red Wedge (1920).
\n<\/em><\/p>\n

The Wake were signed to Factory Records but their career has been overshadowed by their more successful label-mates. The artwork is El Lissitzky’s famous propaganda poster<\/a> with the slogans removed.<\/p>\n

\"thewake2.jpg\"<\/p>\n

Here Comes Everybody (1985) by The Wake. Design by Jackie Gribbon & The Wake. Artwork: Part of the Show Machinery (1923).
\n<\/em><\/p>\n

\"grawe.jpg\"<\/p>\n

Six Studies For Piano Solo (1988) by Georg Gr\u00e4we. Artwork: First Kestner Portfolio: Proun (1924).<\/em><\/p>\n

El Lissitzky’s “Proun” on this cover can be seen in miniature on the Wake sleeve that precedes it.<\/p>\n

\"balanescu.jpg\"<\/p>\n

Possessed (1992) by The Balanescu Quartet. Design by T&CP Associates “with a Nod and a Wink Towards El Lissitzky”.<\/em><\/p>\n

A minimal usage for an album which is predominantly string-quartet arrangements of Kraftwerk songs.<\/p>\n

\"clockdva.jpg\"<\/p>\n

Man-Amplified (1992) by Clock DVA. Artwork: The Constructor. Self-portrait with Circle (1924).<\/em><\/p>\n

Clock DVA by this point had abandoned their organic Industrial style for total electronics. The album title and the lyrics of Man-Amplified<\/em> were evidently intended as a kind of cyberpunk upgrading of Kraftwerk’s Man-Machine concept\u2014which may explain the El Lissitzky artwork\u2014but the results sound rather dated today.<\/p>\n

\"prokofiev3.jpg\"<\/p>\n

Sergei Prokofiev: Le Pas d’Acier; L’enfant prodigue (2003); Michail Jurowski, WDR Sinfonie Orchester K\u00f6ln. Artwork: First Kestner Portfolio: Proun (1924).<\/em><\/p>\n

\"prokofiev2.jpg\"<\/p>\n

Sergei Prokofiev: Sur le Borysth\u00e8ne; Seymon Kotko Suite; Lieutenant Kij\u00e9 Suite (2004); Michail Jurowski, WDR Sinfonie Orchester K\u00f6ln. Artwork: Proun 10 (detail) (1919).<\/em><\/p>\n

\"prokofiev1.jpg\"<\/p>\n

Sergei Prokofiev: Chout (2004); Michail Jurowski, WDR Sinfonie Orchester K\u00f6ln. Artwork: Proun G7 (detail) (1923).<\/em><\/p>\n

\"ff2.jpg\"<\/p>\n

Michael (2004) by Franz Ferdinand. No designer credited. Printed in variant shades.<\/em><\/p>\n

Many of Franz Ferdinand’s early releases either alluded to or borrowed from the avant-garde imagery and typography of Soviet artists. These two singles take El Lissitzky for a model, with This Fffire<\/em> being a variation on the Red Wedge<\/em> design.<\/p>\n

\"ff1.jpg\"<\/p>\n

This Fffire (2004) by Franz Ferdinand.\u00a0No designer credited.<\/em><\/em><\/p>\n

\"kashmir.jpg\"<\/p>\n

No Balance Palace (2005) by Kashmir. Artwork: Design for the Abstract Cabinet (1927).<\/em><\/p>\n

An album co-produced by Tony Visconti which perhaps explains its guest appearances from David Bowie and Lou Reed.<\/p>\n

\"nyman1.jpg\"<\/p>\n

Man And Boy: Dada \u2013 An Opera In Two Acts (2005) by Michael Nyman. Design by Russell Mills & Michael Webster. Artwork: Portrait of Kurt Schwitters.<\/em><\/p>\n

\"nyman2.jpg\"<\/p>\n

The Draughtsman’s Contract (2005) by Michael Nyman. Design by Russell Mills & Michael Webster. Artwork: Untitled (Hand with a Compass) (1924).<\/em><\/p>\n

\"ff3.jpg\"<\/p>\n

Swallow Smile (2006) by Franz Ferdinand. Design by Kris Heding.<\/em><\/p>\n

Ending as we began with a 7″ single, unless there’s more to be added. As usual, if you know of any omissions then please leave a comment.<\/p>\n

Elsewhere on { feuilleton }
\n\u2022 The album covers archive<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

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\u20131941) 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 … Continue reading “El Lissitzky record covers”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[2,4,29,3,44],"tags":[86,4248,1301,6367,4229,6373,6370,122,1302,5424,4498,210,6372,6368,6371,6369,6374],"class_list":["post-15610","post","type-post","status-publish","format-standard","hentry","category-art","category-design","category-electronica","category-music","category-painting","tag-barney-bubbles","tag-clock-dva","tag-david-bowie","tag-el-lissitzky","tag-factory-records","tag-franz-ferdinand","tag-georg-grawe","tag-kraftwerk","tag-lou-reed","tag-michael-nyman","tag-riuichi-sakamoto","tag-russell-mills","tag-sergei-prokofiev","tag-the-au-pairs","tag-the-balanescu-quartet","tag-the-wake-group","tag-tony-visconti"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-43M","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/15610","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=15610"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/15610\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=15610"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=15610"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=15610"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}