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Mirror Traffic: Stephen Malkmus and the Jicks, produced by Beck Hansen, cover art by Tom Clark, Matador Records, release date 23 August 2011
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VANITAS : a journal of poetry, writings by artists, criticism, and essays. During its decade of intervention in the public realm, VANITAS came out quasi-annually, serving as a forum for international voices with an emphasis on coming to grips with current world situations. Each issue contained writings by artists whose primary modes were non-literary and featured the work of a visual artist. [www.vanitasmagazine.net]
For the seventh and final issue of VANITAS, we examine the idea of The Self. The work featured in issue 7 tests just how far the self can be stretched, partially as an exercise in self-expression, partially in search of what used to be called experience. Self, not so much in personae as in faces, in the sense the Mods used the term — referring to someone with style, perhaps within a culture of style, but an individual expression of that culture, or perhaps someone who can seemingly invent her own style, just standing there.
This issue features new work by Bruce Andrews, Mary Jo Bang, Anselm Berrigan, Steve Dickison, Danielle Dutton, Tonya Foster, John Godfrey, Robert Hunter, Paolo Javier, Ann Lauterbach, Kimberly Lyons, Dan Machlin, Gerard Malanga, Judith Malina, Filip Marinovich, Harry Matthews, Michael McClure, Anna Moschovakis, Stephen Motika, Jennifer Moxley, Michael Palmer, Aram Saroyan, Lewis Warsh, and many more. Featuring artwork by Diana Michener, Carol Szymanski, Gerard Malanga, Rudy Burckhardt, and Vivien Bittencourt.
7 comments:
Now I'm excited. Love the cover. Sorry I can't underscore Love. Curtis
Thanks very much Curtis. This is one of those classic L'il Abner situations.
They came seeking that image, they used it, but so far, in the empire of the instant, it has gone uncredited (although on some rock zine sites it has actually been credited to a Matador staff person, yet)... and now it has gone viral, and has appeared on one billion sites and blogs across the net, with the impression given that its creation (should anyone be interested) was some sort of immaculate conception or miracle of photoshop. But hey, that was actual paint, once. It came out of tubes and was applied with brushes, by hand. Before the first lab pixie ever breathed the ether.
I'm interested and sorry to hear this tale, but trust you'll get it worked out. Record company art departments often do strange things that I don't understand. Once when looking at a couple of (I believe) MCA reissues, including one for Irma Thomas, I discovered that Caroline, who formerly worked there, was for some reason actually credited with the cover art. Of course, that was inaccurate and we never learned why this occurred. When I used to oversee the legal aspects of packaging for a large home video company, we were scrupulous in listing credits correctly. If you require any assistance here, please let me know. Curtis
Curtis,
I'm still looking forward to holding the actual object in my gnarled hands.
There's an interesting interview with Steve Malkmus about Mirror Traffic, by the way, here.
I got the cover for The Age of Huts (a collage by Jess)after finding it on the cover of a Nina Simone release in the UK.
It is beautiful. I love it. I do hope you get credit. A creepy story . . . Keep us updated!
Ron,
Jess and Nina Simone (with Ron in the rumble seat). A dream date.
Nin,
Many thanks.
Yes, this was sorted out and credit given.
S.M. is a gracious fellow as well as a very talented artist.
By the by, this is kind of interesting:
Steve Malkmus talks about the Mirror Traffic cover.
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