Sound and Vision is a new segment on our platform dedicated to exploring one piece of substantial album artwork every Sunday. Album artwork is one of the primary ways that musicians and visual artists are able to collaborate, and many iconic album covers are simultaneously iconic pieces of pop art. They also provide an excuse for us to share some of our favorite albums, and the visual component behind what makes an album groundbreaking and fun.
Artwork photography by Stephane Sednaoui
Design by Paul White
For this week's Sound and Vision, we’re checking out the 1995 album, Post, the second solo album by iconic experimental pop multimedia artist, Björk. Post was the first album she wrote entirely outside of her home country, making it her first album post-Iceland, and also a “postcard” to herself. The cover features her, surrounded by giant colorful postcards, creating a vibrant collage landscape behind her. She boldly faces the camera in a Royal Mail-inspired jacket, which was designed by Hussein Chalayan. You can even see from her two iconic videos from Post, directed by visionaries Michel Gondry and Spike Jonze, that Björk was more than just a musician, she was a visual artist.
We featured this iconic album artwork on the cover of our April 2015 issue, where we interviewed the curator of the MoMA’s Bjork retrospective, Klaus Biesenbach.
(Army of Me, directed by Michel Gondry)
"She’s one of the most inspiring, innovative, creative minds of my generation. She has influenced and inspired generations, several now, and has provided images and a persona that is influential, not necessarily images that fit into a frame or onto a pedestal. She is one of the most influential, creative exhibitioners alive right now.
"One strong memory is just watching music TV and being absolutely fascinated. But that’s how everybody had their first impressions of her music. There was just this fascination.
"I founded an art institution in Berlin where we built and ran a sculpture café that had a very good sound system, and I remember a particular opening where there was music in the background. I never liked music in the background of exhibitions, but all of a sudden, I realized it was Björk’s music, and how in that big crowd, there was a feeling of an immediate and intimate encounter with another person who also was in the room. I think that is what most people have—it’s as if she’s too close to the microphone and somehow she gets through the ether, through the Internet, into your very, very close surroundings. It’s a little bit as if you were touched by her. So I remember just the regular TV thing, but I also remember that one moment—this thought of, 'Who is that, who is that voice?'
"She is such a strong artist, you’re just trying to not lose track with her. I was hoping it would all align, but she’s like a storm, you don’t presume you can change her course." —Klaus Biesenbach
(It's Oh So Quiet, directed by Spike Jonze)