Cover for Harper’s Bazaar by Alexey Brodovitch, 1946.
German design magazine, Form 1957-1965. March issue, 1965.
Via Design is fine.
Cover design by George Giusti for Holiday magazine, September 1957.
Cover for issue nine of Kinfolk Magazine.
Pop No.29 AW 13/14 with Kate Moss on the cover appearing as an Allen Jones mannequin.
Via The English Group.
Via I’m a cyborg.
I just got my hands on issue two of MADE Quarterly.
A must read for all readers of this blog, MADE Quarterly is a publication that documents the workings of the modern maker, including but not limited to industrial design, architecture, fashion, interior design, photography and the culinary world. MADE aims to get inside the heads of those individuals to find out how they do what they do, and what inspires them to create. Each issue will take a peek behind the scenes and offer the reader a rare opportunity to glimpse inside the minds of these inspiring individuals.
The second edition of of this beautifully produced publication features: Mast Brothers (USA), Best Made Co (USA), Huet Brothers (NLD), Stevie Gee (GBR), Earth Tu Face (USA), March Studio (AUS), Uniform Wares (GBR), Henry Wilson (AUS), Ben Huff (USA) and Minimalux (GBR).
Available in four randomly distributed covers, each displaying chosen works from the contributors. Available from the MADE Quarterly online store.
By David Rosenberg
From 1926 through 1992, the only photography magazine available for both amateur and professional photographers in the Soviet Union was Soviet Photo. Because it was state-run, the images shown in the magazine were printed with the sole purpose of furthering Communist propaganda.
The artist Roman Pyatkovka worked as an underground photographer during part of that era, risking imprisonment for many of the images he took back in the 1970s and ’80s.
“It was a time when the police would view anyone with a camera as suspicious,” Pyatkovka wrote via email. “A time when any nude image was considered pornographic. My works were a breath of fresh air against the oppressive totalitarian state.”
Pyatkovka, along with a handful of other artists, wanted only to work without censorship creating work that was “dangerous, but at the same time exciting.”
Using both the propaganda imagery from Soviet Photo along with his own illicit imagery taken during the Soviet period, Pyatkovka has created a series of imagery titled “Soviet Photo,” which, he wrote, enables the viewer “to reflect on the ideals and disappointments, censorship and creativity of that time.”
Graphis cover, 1959.