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DÍAS DE VINILO UNA HISTORIA DEL DISEÑO GRÁFICO MUSICAL 17 de abril - 13 de septiembre de 2015 Salas 1, 3, 4, 5, 6 y 7 EXPOSICIÓN CATÁLOGO Organización y Producción Textos Patio Herreriano, Museo de Arte F. Javier Panera Cuevas Contemporáneo Español. Fotografías Comisario © Archivo Fotográfico Museo Patio F. Javier Panera Cuevas Herreriano (Juan Carlos Quindós) Coordinación Diseño y maquetación Patricia Sánchez Cid María Ángeles Díez Mendoza Comunicación ISBN 978-84-96286-31-3 Susana Gil Trigueros Todos los derechos reservados Montaje © De las imágenes y los textos Feltrero División Arte sus autores © De la edición Museo Patio Seguro Herreriano Aon - AXA Art Selección de obras de la Colección Arte Contemporáneo-Museo Patio Herreriano integradas en DÍAS DE VINILO. Una historia del diseño Serenade (1989) gráfico musical Elena Asins Colección Arte Contemporáneo Bodegón cubista con guitarra (1925) José Moreno Villa Tríptico transformable (1966) CAC Aon Gil y Carvajal, S.A. Manuel Barbadillo CAC Gas Natural Fenosa Bodegón cubista con guitarra (1925) José Moreno Villa Pieza escuchando la pared (1992) CAC ACS, Actividades de Construcción y Juan Muñoz Servicios, S.A. CAC Accenture España, S.L. Couple de danseurs (1926-28) Espacio rítmico en Fa menor (2007) Joaquín Peinado José Antonio Orts CAC Aon Gil y Carvajal, S.A. CAC Banco Popular Español, S.A. Bodegón con violín y partitura (1930 c.) Dancing with the minimalism 3 (1996) Ismael G. de la Serna Elena del Rivero CAC Unión Fenosa Distribución, S.A. CAC Aon Gil y Carvajal, S.A. Càntic del sol (1975) Dancing with the minimalism 2 (1996) Joan Miró Elena del Rivero Colección Arte Contemporáneo CAC Aon Gil y Carvajal, S.A. Guitarras (1934) Dancing with the minimalism 1 (1996) Eudald Serra Elena del Rivero Navarro Generación, S.A. CAC Aon Gil y Carvajal, S.A. Homenatge a Schoenberg (1962) Retrato de los Kandinsky (1988) Albert Ràfols-Casamada Herminio Molero Colección Arte Contemporáneo CAC Técnicas Reunidas, S.A. Homenaje a Vivaldi (1958) Sin título (1988) Manuel Rivera Martin Kippenberger Colección Arte Contemporáneo Colección Arte Contemporáneo La Televisión I (1967) The Spanish Family (1986) Juan Antonio Aguirre Patricia Gadea CAC Técnicas Reunidas, S.A. Técnicas Reunidas, S.A. INTRODUCCIÓN Un proyecto de F. Javier Panera Cuevas Sabemos por otra parte, que son mu- La exposición chas las estrellas del rock que se han formado en escuelas de arte antes de DÍAS DE VINILO dedicarse profesionalmente a la músi- La exposición Días de vinilo traza una ca tal es el caso de: John Lennon (The genealogía de las relaciones entre arte Beatles), Mick Jagger (The Rolling Sto- contemporáneo y música pop, a través nes), Brian Ferry (Roxy Music), David del diseño gráfico de más de 1500 por- Byrne (Talking Heads), Kim Gordon (Sonic tadas de discos desde los años 40/50 Youth), Damon Albarn (Blur)… que se han del pasado siglo hasta la actualidad, servido del diseño gráfico de las porta- poniendo énfasis en aquellos momentos das de sus discos y de colaboraciones en que artistas de vanguardia de reco- con artistas plásticos de primera mag- nocido prestigio han colaborado activa- nitud como Richard Hamilton, Andy War- mente con músicos coetáneos. hol, Robert Rauschenberg, Dan Graham, Es preciso recordar que aunque las his- Mike Kelley, Julian Opie o Damien Hirst, torias del arte académicas suelen pasar entre un largo etc que llega hasta hoy, de puntillas sobre este tema, las rela- para consolidar su imagen y establecer ciones entre las artes visuales y la mú- diálogos estéticos con las tendencias ar- sica popular a lo largo del siglo XX han tísticas más avanzadas de su época. De sido muy fecundas y son ya varias las todos encontramos ejemplos significati- generaciones de artistas que han inte- vos en este proyecto. grado en los procesos de producción de Esta exposición explora dichos diálogos sus obras elementos que se relacionan a través de más de 1500 portadas de de modo directo o indirecto con las ac- discos nacionales e internacionales a titudes e imaginarios desarrollados por las que se suman decenas de revistas, géneros como el rock and roll, el pop, pósters, fanzines, fotografías, serigra- la psicodelia, el glam, el punk, el soul, fías y objetos que trazan el más com- la música disco, el hip-hop, el indie pleto panorama de la historia del diseño pop, la electrónica o cualquiera de los gráfico musical, en paralelo a los movi- subgéneros y tendencias musicales más mientos artísticos de la segunda mitad fugaces desarrollados en los últimos del siglo XX, que se ha realizado hasta cincuenta años. el momento en el estado español. El Rock no sólo es música, es también La exposición propone dos itinerarios imagen y antes de la aparición del vi- concebidos específicamente para las deoclip musical en la década de los 80 salas del Museo Patio Herreriano, que o de plataformas como Youtube en el generan encuentros inesperados entre siglo XXI, tal imagen tuvo su más per- las obras de la colección permanente y fecta encarnación (aparte de la propia las portadas de discos; invitando a los apariencia de los artistas) en las fundas visitantes a transitar la práctica totali- de cartón de 7” y 12” que envolvían los dad del museo para ver todas las piezas discos de vinilo. de la exposición. ITINERARIO 1 (Salas 1, 3, 4 y 5) da mitad del siglo XX avanzaron de la 1- ¡Pop!, ¡Glam!, ¡Punk! - Historia del mano de tendencias musicales estéti- diseño gráfico musical por décadas y camente equiparables. Del Pop Art al estilos (1940 – 2015). Arte Conceptual, del Minimalismo a la 2- “Peel Slowly and See” - Portadas de Performance, de los “Nuevos Salvajes” discos diseñadas por artistas (1949 – alemanes a los Young British Artists… 2015). Creadores tan relevantes como Andy ¿Qué fue antes: la música pop o el Pop Warhol, Roy Lichtenstein, Joseph Beuys, Art?; ¿El arte conceptual o los discos Peter Blake, Richard Hamilton, John Bal- conceptuales?; ¿La nueva ola madrileña dessari, Robert Rauschenberg, Picasso, o la nueva figuración madrileña?; ¿Los Dalí, Antoni Tàpies, Antonio Saura, Equipo Young British Artists o el Brit Pop?. Crónica, Juan Genovés, Miquel Barceló, Esta sección reúne más de 700 porta- Albert Oehlen, Keith Haring, Rodney Gra- das de discos que demuestran que en ham, Gerhard Richter, Cindy Shermann, muchas ocasiones las tendencias ar- Jeff Wall, Christian Marclay, Matthew tísticas más significativas de la segun- Barney, Jeff Koons, o Damien Hirst; entre Salas 1, 3, 4, 5, 6 y 7 - Itinerarios una larga lista que llega hasta hoy, se ilustradores y fotógrafos como: Alex han aproximado a la música en algunos Steinweiss, Jim Flora, Reid Miles, David de sus trabajos más destacados, llegan- Stone Martin, Richard Avedon, Annie Lei- do en ocasiones a colaborar con diferen- bovitz, Robert Freeman, Rick Griffin, Ro- tes bandas de rock o incluso a grabar bert Crumb, Stanley Mouse, Mick Rock, sus propios discos. Al mismo tiempo, se Robert, Hipgnosis, Roger Dean, Richard aborda un recorrido lineal por las señas Corben, Neon Park, Robert Mapplethor- de identidad de los diferentes géneros pe, Jean Paul Goude, Jamie Reid, Antón musicales, desde los orígenes del di- Corbijn, Peter Saville, Nick Night, Shepar seño gráfico musical allá por los años Fairey, Banksy… 40 hasta la actualidad. Cada género se suele regir por códigos y estereotipos vi- ITINERARIO 2 (Salas 6, 7 y obras reparti- suales que condicionan el trabajo de los das por las salas 1, 3, 4 y 5). diseñadores a la hora de crear el artwork “Bailar de arquitectura”. Una mirada de cada disco, hasta el punto de que musical a la Colección del Museo Patio hay fotógrafos, ilustradores y diseñado- Herreriano. res gráficos que terminan asociándose Este itinerario intenta poner una banda a sellos discográficos, estilos musicales sonora imaginaria a algunas obras de la e incluso a cantantes y bandas de rock Colección Permanente del Museo Patio concretos. Hay casos muy conocidos Herreriano que de modo directo o cola- como el de Alex Steinweiss, inventor teral se relacionan con la música; esta- de la portada de discos y responsable bleciendo analogías musicales y visua- del diseño los diseños de las cubiertas les entre movimientos como la pintura del sello Columbia en los años 40, de informalista y la canción de autor, la Reid Miles para sellos de jazz como Blue abstracción geométrica y el jazz, la nue- Note en los años 50, de Robert Freeman va figuración madrileña y la música de con los primeros discos de The Beatles, La Movida, los nuevos comportamientos Rick Griffin con la Sicodelia, Mick Rock artísticos y el rock experimental o el arte con el Glam Rock, Roger Dean e Hipgno- de los ochenta y el Punk y la Nueva Ola. sis con el Rock Progresivo, Jamie Reid con el punk, Peter Saville con el Tecno y Sala 1 (Grupo 57, Grupo Parpalló, Grupo El el Post-punk o Raymond Pettibon con el Paso). Los más importantes artistas que Grunge y el Hardcore… practicaban por entonces la abstrac- En esta sección se reúnen más de 700 ción en España, Saura, Millares, Tàpies, portadas inolvidables de los géneros y Guinovart, Equipo 57, etc., colaboraron subgéneros musicales más reconocidos solidariamente y crearon y ofrecieron en la música pop del siglo XX: Jazz, sus obras para ilustrar las carpetas de Rock and Roll, Beat, Garaje, Psicode- los discos de aquellos años. Joan Miró y lia, Progresivo, Hard Rock, Glam Rock, Tàpies colaboraron con cantantes como Punk, Techno, Hip –Hop, Indie, Grunge, Raimon o Maria del Mar Bonet. Tàpies, Britpop… Con trabajos de diseñadores, creó una magnífica cubierta para el disco de Raimon: Per destruir aquell En la sala 4 nuevamente obras de la Co- quil’ha desert (1970).
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  • A Creative Collage and Translation Exploring the Identity and Growing Influence of the Latino Community in Middle Tennessee

    A Creative Collage and Translation Exploring the Identity and Growing Influence of the Latino Community in Middle Tennessee

    Nuestra Comunidad: A Creative Collage and Translation Exploring the Identity and Growing Influence of the Latino Community in Middle Tennessee By Emily Rouse A thesis presented to the Honors College of Middle Tennessee State University in partial fulfillment of the requirements for graduation from the University Honors College Spring 2020 Nuestra Comunidad: A Creative Collage and Translation Exploring the Identity and Growing Influence of the Latino Community in Middle Tennessee Emily Rouse APPROVED: ______________________ Dr. Jason Pettigrew World Languages, Literatures, and Cultures ______________________ Dr. Roger J. Pieroni World Languages, Literatures, and Cultures ______________________ Dr. John R. Vile University Honors College Dean Abstract Inspired by The Humans of New York photography project by Brandon Stanton, this thesis project serves to provide an overview of the Latino community in the Middle Tennessee area through two parts: a research portion over various topics of interest and interviews with individuals who identify themselves as Hispanic and/or Latino that are transcribed in English and translated into Spanish also accompanied by photographs of areas of prominence for the community in the Middle Tennessee area. The goal of the project serves to separate the community from the demographics and give a personalized reflection instead and further the knowledge of the researcher through culture and community. It examines demographics thorough the research, but also acknowledges individual perspective on those topics to
  • Aliens, Afropsychedelia and Psyculture

    Aliens, Afropsychedelia and Psyculture

    The Vibe of the Exiles: Aliens, Afropsychedelia and Psyculture Feature Article Graham St John Griffith University (Australia) Abstract This article offers detailed comment on thevibe of the exiles, a socio-sonic aesthetic infused with the sensibility of the exile, of compatriotism in expatriation, a characteristic of psychedelic electronica from Goatrance to psytrance and beyond (i.e. psyculture). The commentary focuses on an emancipatory artifice which sees participants in the psyculture continuum adopt the figure of the alien in transpersonal and utopian projects. Decaled with the cosmic liminality of space exploration, alien encounter and abduction repurposed from science fiction, psychedelic event-culture cultivates posthumanist pretentions resembling Afrofuturist sensibilities that are identified with, appropriated and reassembled by participants. Offering a range of examples, among them Israeli psychedelic artists bent on entering another world, the article explores the interface of psyculture and Afrofuturism. Sharing a theme central to cosmic jazz, funk, rock, dub, electro, hip-hop and techno, from the earliest productions, Israeli and otherwise, Goatrance, assumed an off-world trajectory, and a concomitant celebration of difference, a potent otherness signified by the alien encounter, where contact and abduction become driving narratives for increasingly popular social aesthetics. Exploring the different orbits from which mystics and ecstatics transmit visions of another world, the article, then, focuses on the socio- sonic aesthetics of the dance floor, that orgiastic domain in which a multitude of “freedoms” are performed, mutant utopias propagated, and alien identities danced into being. Keywords: alien-ation; psyculture; Afrofuturism; posthumanism; psytrance; exiles; aliens; vibe Graham St John is a cultural anthropologist and researcher of electronic dance music cultures and festivals.