Ray gun magazine

To wit: soul patches, Vanilla Ice, tribal tattoos, toe rings, the swing-dancing craze, and. Donald Trump. Ray Gun: The Bible of Music and Style by founding publisher Marvin Scott Jarrett who later went on to start Nylon is a page coffee-table tome filled with covers, layouts, ray gun magazine, photos, and occasionally text from a periodical once as infamous as it is now mostly unknown. Brian Eno once said that only 10, people bought the first Velvet Underground record, but each one of those people started a ray gun magazine.

From my hotel room in Frankfurt. Right side remainds me of Rothko a bit Digital print from 35mm photograph on archival paper by David Carson Branding Carson. This was the graphic-designer-as-rock-star, living an itinerant life of wall-to-wall airport lounges, luxury hotel rooms and limousines-before Carson, only British designer Neville Brody had come close to occupying such a rarefied position. But what else could be expected from someone whose work teeters precariously between the usually well-defined bound-aries of art and graphic design? Some six years after The End of Print was first published, David Carson is still managing to maintain his controversial position. While he is no stranger to exhibiting in museums abroad, appearing as part of a group show held in a commercially led fine-art gallery is somewhat different.

Ray gun magazine

Throughout the course of the 90s, Jarrett is credited with bringing the likes of British bands Inspiral Carpets, Blur , and Jarvis Cocker to a passionate new audience of US music fans, and introducing them to the work of European creatives including Corinne Day and Wolfgang Tillmans. Much like the contents inside the magazine, the design and aesthetic approach of Ray Gun was pretty innovative, too. Led by art director David Carson, pages were printed back to front and upside down, leaving people wondering whether the move was intentional or not. The articles themselves often went in some unique directions, too — just take the time an apparently slightly dull interview with Bryan Ferry ended up being published in symbol-based font Dingbats, rendering it illegible, for example. Visually it was awesome and, somehow, it worked. In January , just eight years after it started, Ray Gun was over, with Jarrett shutting the cult magazine down to focus on other projects including Nylon , which he founded in We were just doing our own thing and I think because it was authentic it ended up making a lot of noise, which was fantastic. It resonated with a lot of people around the world. Henry Rollins was really interesting to me because not only was he this alternative punk guy, he was all about his poetry and had his own publishing company, which I thought was really cool. Sonic Youth were the quintessential, archetypical, post-punk noise band from that time, so obviously they were in, it just made sense. And we got Spike Jonze to shoot them, actually, which was great. And then I put my love of playing music together with my love of magazines and started making music magazines. I used to buy NME , which was like my bible, and I wanted to bring what I loved about that scene to more people.

By including him among these up-and-coming British artists, the gallery hopes to introduce Carson to a new audience of art aficionados.

Ray Gun was an American alternative rock-and-roll magazine , first published in in Santa Monica, California. Led by founding publisher Marvin Scott Jarrett, art director David Carson and executive editor Randy Bookasta, along with founding editor Neil Feineman, Ray Gun explored experimental magazine typographic design and unique angles on the pop cultural currents of the s. The editorial content was framed in a chaotic, abstract " grunge typography " style, not always readable it once published an interview with Bryan Ferry entirely in the symbol font Zapf Dingbats , but distinctive in appearance. In terms of content, Ray Gun was also notable for its choices of subject matter. Ray Gun produced over 70 issues from through

From my hotel room in Frankfurt. Right side remainds me of Rothko a bit Digital print from 35mm photograph on archival paper by David Carson Branding Carson. This was the graphic-designer-as-rock-star, living an itinerant life of wall-to-wall airport lounges, luxury hotel rooms and limousines-before Carson, only British designer Neville Brody had come close to occupying such a rarefied position. But what else could be expected from someone whose work teeters precariously between the usually well-defined bound-aries of art and graphic design? Some six years after The End of Print was first published, David Carson is still managing to maintain his controversial position. While he is no stranger to exhibiting in museums abroad, appearing as part of a group show held in a commercially led fine-art gallery is somewhat different. At the same time, despite being a household name in graphic design, David Carson is virtually unknown withhim the contemporary British art world.

Ray gun magazine

David's design is a language, not a style. Vignelli "a contemporary legend" Print magazine, From CreativeReview Magazine ,London: "David Carson was the last person whose work for a magazine shifted wider contemporary design" jan. March " he changed the public face of graphic design" - newsweek " the art director of the era" creative review london " the most important work coming out of america" ameri- can center for design " the most influential graphic designer of our times" surfrider foundation, july '09 " He significantly influenced a generation to embrace ty- pography as an expressive medium" - steven heller " our biggest star " AIGA american institute of graphic arts " the greatest living graphic designer.. The best way to relate is to quote what they said that when Aeschines spoke the people said, "How well he speaks"; but when Demosthenes spoke, they said, "Let us march!

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Much like the contents inside the magazine, the design and aesthetic approach of Ray Gun was pretty innovative, too. It is high quality, but it is a new brand. I used to buy NME , which was like my bible, and I wanted to bring what I loved about that scene to more people. Fashion Feature. On the Way to Coney Island In terms of content, Ray Gun was also notable for its choices of subject matter. Sure it did. Carson is the art director and designer on the project and shares a cover credit. Some six years after The End of Print was first published, David Carson is still managing to maintain his controversial position. Readers found Beck in soft focus, seen through what looked like the steamed-up shower glass of a locker room stall; a translucent Radiohead. Is he trying to do the same in the art world of the 21st century? Download as PDF Printable version.

Ray Gun was an American alternative rock-and-roll magazine , first published in in Santa Monica, California. Led by founding publisher Marvin Scott Jarrett, art director David Carson and executive editor Randy Bookasta, along with founding editor Neil Feineman, Ray Gun explored experimental magazine typographic design and unique angles on the pop cultural currents of the s. The editorial content was framed in a chaotic, abstract " grunge typography " style, not always readable it once published an interview with Bryan Ferry entirely in the symbol font Zapf Dingbats , but distinctive in appearance.

Archived from the original on February 10, Ray Gun produced over 70 issues from through Throughout the course of the 90s, Jarrett is credited with bringing the likes of British bands Inspiral Carpets, Blur , and Jarvis Cocker to a passionate new audience of US music fans, and introducing them to the work of European creatives including Corinne Day and Wolfgang Tillmans. It could never just be music, because music and fashion are so interlinked and related, and in the early 90s you were seeing that crossover more and more. Led by art director David Carson, pages were printed back to front and upside down, leaving people wondering whether the move was intentional or not. You can unsubscribe at any time. This article needs additional citations for verification. To wit: soul patches, Vanilla Ice, tribal tattoos, toe rings, the swing-dancing craze, and. Otherwise, I love the Jesus and Mary Chain cover for some reason, just the little picture of the brand and the typography is really cool. Visually it was awesome and, somehow, it worked. You bet it did. Unsourced material may be challenged and removed. Some new essays written for it—by former editor Dean Kuipers, Flaming Lips frontman Wayne Coyne, art director Steven Heller, and Liz Phair who appeared on the cover in , though only her legs and her hair, not her face, were actually visible —go a long way toward explaining the lightning-in-a-bottle genius of the original concept. On the Way to Coney Island ISBN