Tag Archives: Barney Bubbles

From the Archive; Malcolm Garrett interview

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Screen Shot from Malcolm Garrett's website, showing Buzzcocks graphics, photographed by Nick Harling

Screen Shot from Malcolm Garrett’s website, showing Buzzcocks graphics, photographed by Nick Harling

I love collections, and exhibitions of collections, especially when they inspire designers and their work, so I would very much like to make the journey to Manchester (which I wrote about, here) to see Collecting Malcolm Garrett, part of the design festival, Design Manchester 17. In celebration of Malcolm Garrett and his work in the music industry (which he spoke about at Pick Me Up, reviewed here), I’m posting another previously unpublished interview from the British Council exhibition, Sound Design. Malcolm mentions his old school friends, Peter Saville (read that interview here) and Keith Breeden, who I also interviewed, so watch out for that interview too.

Malcolm Garrett, interviewed by Liz Farrelly on 12/7/2000.

Liz Farrelly: Where did it all start?

Malcolm Garrett: The Buzzocks was 23 years ago. It came about because I wanted to do a sleeve that wasn’t just a piece of cardboard and I was always interested in corporate graphics, as opposed to corporations, and subverting corporate graphics and systems graphics too, because a record sleeve is fundamentally information. So I was looking at it from an informational standpoint, as opposed to an art gallery standpoint. We were selling something so much more ethereal than say, banking services, so there was a frisson there. And because, with the Buzzcocks, some of their songs were looking at the nature of society and relationships in quite a detached way, it seemed appropriate to misappropriate some form of informational graphics.
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From the Archive (and now); Destroy, punk and DIY

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So an email arrived inviting me to the launch of Punk.London at Oxford Street’s 100 Club, and I have to admit it didn’t totally intrigue me. Instead in gushed cloudy memories of a dark, sweaty cellar and an uncomfortable din, which I must have endured (it feels like) a hundred times over a couple of decades. But a closer look at the invite revealed this to be an occasion for nostalgia, a celebration of a 40-year anniversary marking London’s punk moment and the start of a movement, a subculture in fact, the long-tail of which has affected both attire and attitude.

Screen Shot from Punk.London website, designed by Brody Associates, inviting D-I-Y participation in a city-wide cultural event

Screen Shot from Punk.London website, designed by Brody Associates, inviting D-I-Y participation in a city-wide cultural event

“Subversive Culture” is the strapline (pardon the bondage-tinged pun), which it is claimed has fuelled creativity (now the Creative Industries) ever since. Over the coming year a host of venues will stage events big and small, backed by the Greater London Authority (GLA); shouting about London’s past punk credentials must have tourist-attracting potential. With an identity and online hub branded by Neville Brody (still demonstrating punk attitude by being “notoriously abrasive”, according to Digital Arts), for me the most innovative element is an prompt to organise your own event; tagged “D.I.Y.” the page offers links to branding and fundraising advice, via the Heritage Lottery Fund (HLF).

Regardless of designated anniversaries punk is perennial, and it doesn’t need much of an excuse to hit the headlines. In 1998 I reviewed an exhibition, Destroy: Punk Graphic Design in Britain, and because it isn’t available on the magazine’s website I’m re-posting it, see below. Yes it was cheeky of me to declare punk to be the only “memorable cultural event in the 1970s”, but that’s a clue to my age. I may have been “witness” to the “heyday of punk” but only just; the article is unapologetically London-centric, too, hardly surprising as I was still at school and London was home. What isn’t mentioned is that I was a lender to the show too, having amassed a substantial collection of vinyl due to a fascination with indie record shops. I sold most of the best bits (the vultures were already circling at the Private View) as I became nomadic, leaving London in April 1998, and had neither the means (no turntable) nor inclination (changing musical tastes) to listen again.
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Sound Design UK Music and Graphic Design; reconstructing an exhibition

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Welcome to Sound Design: UK Music and Graphic Design, an exhibition from 2000. Staged on the cusp of the digital communications revolution it has no online presence and is therefore “invisible”. This post is an attempt at digital reparation, an experiment in creating a “trace” for a long-gone temporary exhibition by providing details of the exhibition-making process. The idea for an exhibition on the graphic design of popular music came from David Elliott, then Head of Arts at the British Council in Japan and a keen vinyl collector. I was asked to pitch a concept that would fit the brief and then employed as curator. The exhibition was designed and organised in the UK by the British Council and toured Asia and Australia. Sometimes in a venue for just a few days, it proved extremely popular, surpassed all expectations and toured for nearly three years; before opening in Tokyo it was already booked into venues in Sydney, Thailand, Malaysia and the Philippines. However, there is no British press coverage, probably because the exhibition wasn’t shown in the UK. Masses of media was generated in Asian and a pile of clippings probably resides in the Tokyo office; I saw the fast-growing folder, and recently found a review in The Japan Times (“The cutting edge of sound and vision”, by Jennifer Purvis, 3/12/2000). (Eventually the British Council realised it was missing a trick and started to give touring shows a short run in the UK, with a Press and Private View to provoke media interest).

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This is the poster, in situ, displayed at the entrance to the Tokyo venue, The Ground. Instead of installing the exhibition at the British Council headquarters, it opened in this concrete-lined bunker (not the easiest place to hang a show) close to the epicentre of Japanese trendiness (between Harajuku and Meiji-Dori). However, in some correspondence The Spiral is named as venue, which would have been an even bigger deal! David’s brief called for an exhibition of UK music graphics; from the golden years of vinyl when British designers helped to invent the genre of “album sleeve art”, to recent annexation of the aesthetic high ground by indie labels and various subcultures. The aim was to come right up to date with examples of ingenious CD packaging.
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