From the Archive; Aubrey Powell interviewed

Screen Shot of Pink Floyd's exhibition website

Screen Shot of Pink Floyd’s exhibition website

With the Victoria and Albert Museum staging the blockbuster exhibition, Pink Floyd: Their Mortal Remains, and an upcoming talk by Aubrey Powell titled, ‘Art of Hipgnosis and the Album Cover’ (14/9/2017), here’s an interview with the man himself. Back in 2000 I spoke with Aubrey on the phone while curating an exhibition, Sound Design, for the British Council, which featured the very best British record sleeve designs from the heyday of Rock to the rebellion of Punk, the eccentricities of New Wave and the innovations of Rave and Rare Groove.

The exhibition included extracts of interviews with all the contributing record sleeve designers but the complete interviews were not published, even though the designers gave permission for them to be compiled into a book. The publishing industry being what it was, at the time, the book didn’t fly, so look out for more interviews on this blog. My questions were quite general; the aim was to get the designers talking about what interested them. The interviews were edited from longer conversations, but I tried to keep the designer’s tone of voice, and each interviewee signed off on the final version. What’s particularly interesting is that at the time vinyl had been replaced by digital technology in the form of CDs; Web 2.0, online downloads and MP3s were still ‘experimental’ and the first Apple iPod wouldn’t be launched for another year. The implications of the Internet for the music industry were beginning to be talked about but not yet felt.

Why am I posting this interview now? To celebrate the work of Aubrey Powell and his (late) partner, colleagues and clients, and the V&A exhibition that he helped to create, which I also hope to review. For more information on the exhibition visit the band’s exhibition website and the museum’s extensive programme, here. To see masses of images check out the websites dedicated to Hipgnosis and Aubrey Powell; for the best of Hipgnosis’s work in print have a look at Aubrey’s book, Vinyl . Album . Cover . Art: The Complete Hipgnosis Catalogue, published by Thames and Hudson.

Aubrey Powell, interviewed by Liz Farrelly on 5/7/2000.

Liz Farrelly: How did you start Hipgnosis?

Aubrey Powell: We started Hipgnosis in the 1960s…It’s not what you know it’s who you know and Storm Thorgersen and I came from Cambridge and Pink Floyd originated in Cambridge – Syd Barrett, Dave Gilmore, Roger Waters – we all came to London at the same time, around 1965/66 and were all attending various art schools. Storm was at the Royal College of Art film school, and I was at the London School of Film Technique. Syd Barrett was at Hornsey Art School. And we were very together, all coming from Cambridge. We shared flats; Storm and I and then Syd and Dave had a big flat in South Kensington. Storm and I were looking to get some holiday money and we had a connection to photograph some cowboy book covers, and at the time everybody was getting stoned and dropping acid and were very drug-oriented. We were right in the middle of that psychedelic revolution. We were all part of that. Pink Floyd were doing gigs in tiny clubs like the UFO club on Tottenham Court Road and had just released their first album and were about to have a hit called See Emily play.
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First Visit; Tallinn, Estonian

Gallery

This gallery contains 22 photos.

This gallery illustrates my whistle-stop trip to Tallinn, Estonia. I was invited to deliver a paper at a seminar, part of the 7th Tallinn Applied Art Triennial, for an edited version of that paper, see here. This post is about … Continue reading

The Happy Film; graphic design on screen

Stefan Sagmeister in ‘The Happy Film’, seeking discomfort on the streets of New York. Photograph: Ben Wolf.

Stefan Sagmeister in ‘The Happy Film’, seeking discomfort on the streets of New York. Photograph: Ben Wolf.

The Happy Film
Duke of York’s Picturehouse
Preston Road, Brighton, East Sussex
14 June 2017 at 6pm

I’m not a fan of solo cinema visits but even with my partner-in-crime currently ‘away’, I had to see this just released, much discussed film at this special screening. Right on the money, the power-couple hosts of Glug Brighton, Carl Rush of creative agency Crush, and Helen, the renowned Illustration agent and founder of Agency Rush, invited graphic-design hero (and I don’t use the term lightly) Stefan Sagmeister to show his seven-years in the making documentary, The Happy Film. Despite the lure of a glorious summer evening, Brighton’s historic Duke of York’s cinema was packed with the city’s creative community including a good number of Graphic Design and Illustration students from University of Brighton, come to see the legend in action, for after a film of thrills and spills Sagmeister stepped up for the Q&A.
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Conference; Drawing the Future

4th International Illustration Symposium
Oxford University Museum of Natural History (OUMNH)
Parks Road, Oxford
7-8 November 2013

At this symposium, not only did I hear Johnny Hardstaff deliver a keynote address, which prompted me to request an interview (we talked about imagining a graphic language of the future), but I also delivered a paper. Here’s a summary, and some slides.

Drawing the Future: Exhibiting Illustration

In the Spring semester I deliver a series of lectures on the “future” to Graphic Design and Illustration students (Level 5/2nd Year) at University of Brighton, and start with a couple of definitions so as to debunk such notions as, the future isn’t really anything to do with us right now, and, it’s all just science-fiction anyway.

“The ‘Future’ is everything that happens from [beat] now (…as they say in the movies…)” …is my playful opener; then I hit them with Tony Fry’s definition (from Design Futuring: sustainability, ethics and new practice, 2009); “The future is not presented here as an objective reality independent of our existence, but rather, and anthropocentrically, as what divides ‘now’ from our finitude. In other words, we exist in the medium of time as finite beings (individually and as a species) in a finite world; how long we now exist — the event of our being — is determined by either an unexpected cataclysmic event (like our plant being hit by a massive meteorite) or by our finding ways to curb our currently auto-destructive, world-destroying nature and conduct.”
…and that’s how I began this talk too.

I set out to show that perhaps by way of a heightened familiarity with drawn and animated futures peopled with cute and cuddly characters, used to entertain and promote (everything from breakfast cereals to banking services), a more positive, friendly, utopian version of the future is being proliferated. In comparison, the “scary”, sci-fi, dystopia future of apocalyptic blockbuster movies seems worn out; not so much because we can “see the wires”, but because we’ve developed “explosion fatigue”; such gargantuan, special-effects-driven destruction just doesn’t “feel real” anymore.
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Johnny Hardstaff imagines the future; interview

Michael Fassbender in David Promo, by Johnny Hardstaff (RSA Films)

Michael Fassbender in David Promo, by Johnny Hardstaff (RSA Films)

Johnny Hardstaff and Liz Farrelly
Interview, 13 December 2013

A shorter version of this article appears in étapes 218, translated into French; the issue is themed, Fiction and Anticipation, published March 2014.

A director and designer who includes the title “modern storyteller” in his biography, Johnny Hardstaff studied Graphic Design at St. Martins School of Art (now called Central Saint Martins College of Art and Design), graduating in the early 1990s and going on to teach design and illustration at Camberwell College of Arts (both are part of University of the Arts London). Hardstaff’s exploration of graphic imagery and use of drawing within his practice are prompted by a desire to build fantastical but believable on-screen worlds; two early short films, “History of Gaming” and “Future of Gaming” suggest that the concepts of utopia and dystopia are inextricably linked. Whether working with commercial clients (Sony, Smirnoff) the entertainment industry (often in collaboration with filmmaker, Ridley Scott) or cultural institutions (Tate, Victoria and Albert Museum), Hardstaff aims to imagine the future.

Liz Farrelly: How do you imagine the graphic language of the future? Do you see other designers trying this too?
Johnny Hardstaff: I used to think that I worked in a cultural vacuum and it was a positive thing. I was adhering to the principle that you don’t have heroes, don’t look at other designers’ work. Instead, you look at interesting triggers and stimuli that are erratic, and fuse them together in a postmodern way. When I try to help students to be original, I say, take two things that do not belong together and see what happens when they implode.
LF: Like the quote by the 19th-century poet, Lautréamont: “As beautiful as the chance meeting on a dissecting-table of a sewing-machine and an umbrella”.
JH: That’s absolutely the principle. I love thumbnails of things that you can’t quite see, images that are so broken you don’t know what they are, so you have to decide what they are.
LF: Like an inkblot test; by deciding what an image is, you are interpreting those half-formed marks, and that comes straight out of your head.
JH: And it’s a trigger. I like industrial languages and detailing on cars, things that already exist, but then you mess with them. They already have cultural resonance, but you remake it. It comes down to monsters; I like the idea of weird cultural monstrosities.
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When an exhibition is a movie…

Manet-Portrait_Berthe_Morisot_with_Violets

Exhibition: Great Art on Screen
Manet: Portraying Life

Duke’s at Komedia, Brighton, UK.
Attended, 3pm, 16 April 2013

Sneaking off to the movies mid-week and daytime usually feels slightly naughty, but this particular escapade fits well with my MPhil/PhD research topic, which is looking at the future of museums (OK, that’s a bit vague)…
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