Art Record Covers. 40th Ed. Av Francesco Spampinato

<p>Since the dawn of modernism, <strong>visual and music production</strong> have had a particularly intimate relationship. From Luigi Russolo¿s 1913 Futurist manifesto <em>L¿Arte dei Rumori </em>(<em>The Art of Noise</em>) to Marcel Duchamp¿s 1925 double-sided discs <em>Rotoreliefs</em>, the 20th century saw ever more fertile exchange between sounds and shapes, marks and melodies, and different fields of composition and performance.<br/><br/> In Francesco Spampinato¿s <strong>unique anthology of artists¿ record covers</strong>, we discover the rhythm of this<strong> particular cultural history</strong>. The book presents 450 covers and records by visual artists from the 1950s through to today, exploring how <strong>modernism, Pop Art, Conceptual Art, postmodernism, </strong>and various forms of <strong>contemporary art </strong>practice have all informed this collateral field of visual production and supported the mass distribution of music with <strong>defining imagery that swiftly

Since the dawn of modernism, visual and music production have had a particularly intimate relationship. From Luigi Russolo's 1913 Futurist manifesto L'Arte dei Rumori (The Art of Noise) to Marcel Duchamp's 1925 double-sided discs Rotoreliefs, the 20th century saw ever more fertile exchange between sounds and shapes, marks and melodies, and different fields of composition and performance. In Francesco Spampinato's unique anthology of artists' record covers, we discover the rhythm of this particular cultural history.The book presents 450 covers and records by visual artists from the 1950s through to today, exploring how modernism, Pop Art, Conceptual Art, postmodernism, and various forms of contemporary art practice have all informed this collateral field of visual production and supported the mass distribution of music with defining imagery that swiftly and suggestively evokes an aural encounter. Along the way, we find Jean-Michel Basquiat's urban hieroglyphs for his own Tartown record label, Banksy's stenciled graffiti for Blur, and a skewered Salvador Dali butterfly on Jackie Gleason's Lonesome Echo. There are insightful analyses and fact sheets alongside the covers listing the artist, performer, album name, label, year of release, and information on the original artwork.Interviews with Tauba Auerbach, Shepard Fairey, Kim Gordon, Christian Marclay, Albert Oehlen, and Raymond Pettibon add personal accounts on the collaborative relationship between artists and musicians. About the seriesTASCHEN is 40! Since we started our work as cultural archaeologists in 1980, TASCHEN has become synonymous with accessible publishing, helping bookworms around the world curate their own library of art, anthropology, and aphrodisia at an unbeatable price. Today we celebrate 40 years of incredible books by staying true to our company credo.The 40 series presents new editions of some of the stars of our program-now more compact, friendly in price, and still realized with the same commitment to impeccable production.