Correction-isms and fragment-isms, lies and pillows, from Pakistan to the Photo Booth – it is of course Things. And as contributions are of no particular flavour, I’ve been trying to think of a good metaphor for the brilliant diversity that our post box digests. Like eating rainbows or fish bowl gravel or not.
Granta, Pakistan Issue Michael Salu, Art Director
Not to gloss over the astonishing literary content (it being Granta and all “magazine of new writing”…) and the accompanying visuals that boast some of Pakistan’s most dynamic artists, on and off the page. BUT. The cover has been painted by Islam Gull, a truck and bus art painter from Karachi, and it is beautiful.
Matic Design mailer Mark Pernice
Anyone with a Mac knows that there is only one function for it’s Photo Booth app – cue face distorting hilarity. This mailer from Matic is a visual record of the joys of making the frankly disturbing expressions fit the real world with a specially fashioned latex mask. I also enjoyed the theory of a paradoxical shift were you to wear the mask whilst on Photo Booth.
Raw Raw pack Massimiliano Bomba and Bea De Giacomo
Pillow and an untitled but highly visual zine from De Giacomo and Bomba respectively, came packaged in this lovely edizioni from RawRaw. Good and ambiguous, the visuals are both photographic and drawn and came complete with a poster from Pillow of the sky.
Fragments Joe Kessler
Fragments is just that, a collection of comics compiled as pieces of stories and parts of people and as a whole it’s a pretty great. Topics covered include poetic macrocosms, a tribute to EC Comics and a fatal encounter with a pheasant. Love his style.
Little White Lies #31 Church of London
Not that they don’t push the boat out visually with every issue, but this one, the Carlos special, has taken some new illustrative blood from Mitch Blunt and has featured the inimitable Spencer Murphy in it’s pages. Along with the quality reviews and excellent features, LWL is a constant source of cinematic excitement like no other.
Correctionism Chris Seddon
An excellently observed study that focuses on the “feud between illicit expression and ruthless correction” of our urban landscape. Correctionism is that contradictory act of deleting a piece of graffitti or street art with something that is often more visible and bruise-like then the thing it censored. The introduction by Chris about the process is genuinely engaging.
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