Cement Bag Graphics

Thanks to the BP Deepwater Horizon disaster in the Gulf, we know all too well how catastrophic the results of faulty cement can be. Then again, it has also been the only fix.

Cement is one of the most consumed substances on earth, said to be second only to water.

Visit any construction site, anywhere in the world, and the bags of cement you see were likely to have been packed in locally printed bags. Together, these images form a global, graphic compendium of all we demand from our most common but significant, of building materials: strength, durability, dependability, consistency, endurance, even eternity.



CREATURES OF STRENGTH

Elephants are very well represented

You may have seen these laptop bags made from unused cement sack, by Wren, in Wired. Below, a vintage Thai poster.

Other animals that stand for strenght and fortitude ...

A fish? In Asia, the carp has long been considered a symbol of strength, endurance, perseverance and fortitude—all good traits for cement (not so good for the Great Lakes). It is said that the carp can jump completely over the rapids of the Yellow River and overcome all manner of obstacles.

And creatures of mythic strength.


STRUCTURES OF STRENGTH

The castle.
The pyramids.
Elemental to pyramids, the triangle shape, be it a rock or a road (or a triangle) is a classic symbol of stability.
And let’s not forget to remember the Alamo.


VINTAGE STRENGTH

“The Portland Cement Factory at Monolith, California"
 was composed by John Fahey in the early 1960s. A vintage Monolith bag is featured on the 7” single by Cul-de-sac, 1999.

Devil’s Slide, Utah, is named for a nearby rock formation. The town grew up in the early 1900s around the Union Portland Cement Co. It is now a ghost town.


PURE GRAPHIC STRENGTH


Russian "constructivist" cement bags.

These bags assert their strength via macho graphics. Although, Vijaya reminds me of a gynecological term Oprah uses …

AMBUJA MAN
And speaking of macho, Ambuja Cement of India, features a muscleman cradling a humongous dam. Dams are the most cement–intensive projects there are. We might not be accustomed to seeing ads for cement here, but in India, branded cement ads are not uncommon. I came across the Ambuja logo in varying degrees of realism— from airbushed, to graphic black and white. Ambujaman is even painted on the sides of buildings.

Photo by Rene

Luis Meléndez Still Lifes

‘Tis the season to eat berries! It’s probably my single favorite thing about summer—the produce—especially fruit. This year I find myself generally smitten with cherries, but my passion extends over many species. Last week I swooned over some raspberries I had the pleasure of picking right off the vine. And nothing compares to watermelon in humidity like this.

In wanting to pay homage to the delectable flesh of summer, I thought of the sumptuous still lifes by 18th century Spanish painter Luis Meléndez, whose work was the subject of an exhibit last summer at the National Gallery in Washington, D.C.

As a student at the Royal Academy of Arts in Madrid, the talented Luis aspired to become a royal portrait painter. However, he and his father (who taught at the academy) clashed with the administration and were both expelled. Unsuccessful in petitioning the court for a position, he was relegated to painting still lifes and died in poverty.

Fast forward to a google image-search and yet another Luis Meléndez having difficulties with the court. Nestled among the ripe tomatoes and voluptuous melons, is a wanted poster by the New Bedford Police Department for our painter’s namesake. He failed to appear in court on the last day of his trial, which resulted in a conviction for cocaine trafficking. He faces a minimum mandatory sentence of 10 years in a state prison.

If anyone has information on Mr. Meléndez’s location or sees him, they are urged to either call 911, call New Bedford Police’s Violent Crime Tip Line at 508-961-4584 or the State Police Unit assigned to the Bristol County District Attorney’s Office at 508-993-2016.

The public should not attempt to apprehend or subdue Mr. Melendez on their own.

The notice is dated 2007, with no status update. I can only hope that he is now safely behind bars, and has taken up painting.

I strongly urge you to visit the Prado Museum site to see the incredible detail of the images when enlarged (below).








Source

To see other paintings in the Prado collection, go to the Prado on-line gallery search and enter Luis Meléndez.

Prague Collages

On the subject of Czech collage, I’ve been unearthing some artwork from the past. I did these collages on a trip to Prague in 1996. It was the end of November and it got dark very early, by around 4:30. The weather was cold and wet, and streets in the city were dimly lit, so I ended up staying in and fooling around with tourist brochures and other accumulated bits and pieces.

Crime Times Three: Czech Detective Books

Photomontage covers for a series of Czech detective books. Each volume is a trio of stories—“Trikrat” means “three times.” Printed right onto the fabric cover, the weave lends an extra-grainy tabloid look to the images.

Artist, Libor Fara (1925-88), was responsible for the distinctive look of the series published by Odeon. He produced most of the Trikrat covers of the 1980s. Fara was a surrealist artist associated with the post-WWII circle of Karel Teige. Like many Czech artists of that period, his work spanned multiple disciplines. His body of work included theatrical design, large-scale assemblages, posters, and many books.

1986

1985

1984

1983

1981, 1977

1987

1980

1987

1989

1988

Images are from Antikvariát Slaný and various other booksellers.

Rational Exuberance: Economist Magazine Covers

Q: How many art directors does it take to change a light bulb?
A: Does it have to be a light bulb?

The scenario is all too familiar at magazines everywhere. Art directors spending countless hours trying to convince editors that as much as they think they want a light bulb, they really don’t want one—too obvious, cliché, etc. Art director then presents light-bulb alternative, and now must convince editors that this is what they really want. Not wanting to appear unsophisticated, editors agree, but only with certain changes. And back and forth it goes, resulting in varying degrees of satisfaction for all concerned.

Well, The Economist is one magazine that seems to save itself much time by not going there, and seems to have a blast, besides. Last week design guru, Bob Newman posted a group of very bold, graphic Economist covers from 1964-68 on Newmanology. I couldn’t help but think of a folder I had of more recent covers from The Economist cover archive that are by turns silly, scathing, hilarious, literal, elitist, cliché, outspoken, and simply not to be believed. What they have in common, is that they all say, “This is a magazine run by editors, not fancy pants art directors. We want our covers to win a response, not admiration, or even awards. When we have an image in mind, we get art to match. To hell with design awards, taste, and subtlety. And to hell with the artsy farts all trying to impress one another with how well they can talk editors out using a light bulb.”

These covers, “are what they are,” and, very refreshingly, don’t pretend to be otherwise.

So while editors everywhere else demand redesigns, and art directors beg for more white space, the Economist readership continues upward. Cover image: large “up” arrow, or maybe a hot air balloon. Cover line: it's obvious, “Up, Up and Away!”












See The Economist cover archive here.