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This deluxe 200 page hard-back 12”x12”book features hundreds of stunning full size record cover designs from the legendary Studio One Records.
Described by Chris Blackwell as the University of Reggae, Studio One is by far the most important record label in the history of Reggae music, an A-Z of Jamaican music as iconic as Motown was to soul, or Blue Note for Jazz.
The book features classic artwork from Bob Marley and the Wailers, Horace Andy, Alton Ellis, Freddie McGregor, The Skatalites, Marcia Griffiths, Burning Spear, The Heptones, Toots and the Maytals and many more artists all of whom launched their careers at Studio One.
As well as many classic sleeves there are numerous rare designs including a collectors’ section featuring many alternate, silkscreen and rarely seen designs.
As Jamaica approaches the 50th anniversary of independence, this stunning deluxe book is a timely look at Reggae music’s legendary record label and the artists and musicians that it made famous.
The book also introductory essay by Steve Barrow (author of Rough Guide to Reggae) and is edited by Stuart Baker (Soul Jazz Records).
The Record is the full-color catalog accompanying the groundbreaking exhibition The Record: Contemporary Art and Vinyl at the ICA April 15 through September 5 2011. The first exhibition to explore the culture of vinyl records in the history of contemporary art, The Record features rarely exhibited work and recent and newly commissioned pieces by thirty-three artists from around the world. These artists have taken vinyl records as their subject or medium, producing sound work, sculpture, installation, drawing, painting, photography, video, and performance.
Works by well-known artists such as Laurie Anderson, Jasper Johns, Ed Ruscha, and Carrie Mae Weems appear alongside those of other North American artists, and of artists from Africa, Asia, Europe, and Latin America, some of whom have never before exhibited in a U.S. museum. Among the works shown are David Byrne’s original Polaroid photomontage used for the cover of the 1978 Talking Heads album More Songs about Buildings and Food, the fictive soul “album covers” created by the outsider artist Mingering Mike in the late 1960s and early 1970s, and Wheel of Steel (2006), an arresting narrative of record-playing told through digital photos by the South African-born and Berlin-based artist Robin Rhode. In addition to the 225 images, 200 of which appear in color, the catalog includes personal reflections and critical analyses.
All of the artists in the exhibition contribute personal statements about their work in relation to the vinyl record, and critics and scholars explore the historical impact of the record on art and music and the ways the medium has helped shape individual and collective identities.
Contributors. Jeff Chang, Vivien Goldman, Jennifer Kabat, Mark Katz, Josh Kun, Barbara London, Mac McCaughan, Carlo McCormick, Charlie McGovern , Mark Anthony Neal, Piotr Orlov, Luc Sante, Trevor Schoonmaker, Dave Tompkins
Drawing on work from the final exhibition before the closing of New York s seminal Deitch Projects, MAYDAY is simultaneously a call for heightened awareness and a celebration of the rebirth embodied in revolutionary movements. MAYDAY - The Art of Shepard Fairey is published as a celebration of this evocative collection of paintings from one of the most important artists of our time. Portraits of advocates of the working class and oppressed define the collection. Fairey stakes the claim that artists, musicians and writers such as Joe Strummer, Jean Michel Basquiat, Woody Guthrie and Cornel West all have parts to play in stimulating response to injustice.
With energy and urgency befitting the title MAYDAY, Fairey captures the radical spirit of his subjects, using portraiture to celebrate the artists, musicians and political activists he most admires. Says Fairey, These people I m portraying were all revolutionary, in one sense or another. They started out on the margins of culture and ended up changing the mainstream. When we celebrate big steps that were made in the past, it reminds us that big steps can be made in the future.
In Fairey s mind, the persistence of difficulties in the political, environmental, economic, and cultural arenas points to the definition of May Day as a distress signal: By now we thought we would be in post-Bush utopia, but we re still having to call attention to these problems. Like any mayday call, however, the sounding of the alarm also brings hope for help on the way. If we stay silent, there s no hope, Fairey muses. But if we make noise, if we put our ideas out there, then maybe we can make a change like the people in the portraits have done.
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