Celebrating the art of the album cover
![Celebrating the art of the album cover](https://images.huckmag.com/tco/images/Huck/9.-FOR-THE-RECORD_THE-ROLLING-STONES-DAVID-BAILEY-e1656686043653.jpg?w=1920&q=75&auto=compress&format=jpg)
In the mid-1980s, curator, gallerist, and composer Antoine de Beaupré began frequenting a record shop in Paris that sold imports from the United States. “At the time, it was the only place you could find new music,” recalls de Beaupré, who would drop by once a week to purchase an album.
From these humble beginnings, an extraordinary record collection was born, one that includes over 15,000 albums. Last month, de Beaupré brought together 200 of the most innovative and influential 12×12 inch works for the exhibition, For the Record: Photography & The Art of The Album Cover, at The Photographers’ Gallery in London.
Featuring works by luminaries including Robert Frank, Robert Mapplethorpe, William Eggleston, Helen Levitt, Irving Penn, and Nan Goldin, For the Record was a tour de force that explored the vital intersection of music, photography, art, and commerce.
![](https://images.huckmag.com/wp-content/uploads/2022/05/2.-FOR-THE-RECORD_MILES-DAVIS-2.jpg?w=1920&q=75&auto=compress&format=jpg)
![](https://images.huckmag.com/wp-content/uploads/2022/05/1.-FOR-THE-RECORD_MILES-DAVIS.jpg?w=1920&q=75&auto=compress&format=jpg)
Miles Davis, Tutu, Warner Bros. Records, 1986. Photography: Irving Penn; Design: Eiko Ishioka
“Since the record cover was invented – way after the record itself – record labels realised its commercial impact,” says de Beaupre. “It became a promotional object for the music. Some records labels, like Blue Note in the mid-1950s, also understood that the visual language for the covers could become a visual signature.”
Album art has come to define the times while influencing generations to come. Jean-Paul Goude’s deftly crafted portrait of Grace Jones for the cover of her 1985 album Island Life has been endless remade by artists seeking to capture the magic and mystery of an iconic pose.
“When building a cover on this square you are sending a message,” says de Beaupré. “It was a very strong form of communication before video and the internet, and is still effective nowadays.”
![](https://images.huckmag.com/wp-content/uploads/2022/05/7.-FOR-THE-RECORD_SERGE-GAINSBOURG.jpg?w=1920&q=75&auto=compress&format=jpg)
Serge Gainsbourg, Love on the Beat, Philips, 1984. Photography: William Klein
![](https://images.huckmag.com/wp-content/uploads/2022/05/8.-FOR-THE-RECORD_PRINCE.jpg?w=1920&q=75&auto=compress&format=jpg)
Prince, Lovesexy, Paisley Park, 1988. Photography: Jean-Baptiste Mondino; Design: Laura LiPum
Case in point: Iain Macmillan’s photograph for the Beatles’ 1969 album Abbey Road, which has inspired a legion of artists to create their own. The bold graphic of the photograph, combined with the highly accessible scene, offered a new way thinking about music photography.
De Beaupré points to the impact of established artists, photographers, and graphic designers all having a hand in crafting the visual identity of an album or a band. “David Bailey is associated to the early albums of the Rolling Stones. You could say that say grew artistically together back then,” he says.
“Andy Warhol and the Velvet Underground was a certainly turning point in album art. The famous banana on the cover created an association between the artist and the band. As a musician, having a cover made by Andy was a pledge of sale.”
As an album collector, de Beaupré is the consummate consumer, searching for the perfect beat. “Back then, there was no internet so you had to dig in shops,” he says. “Looking back, you realise how important covers are. You would recognise the label and if you didn’t know the musician, you would buy blind trusting the label.”
![](https://images.huckmag.com/wp-content/uploads/2022/05/14.-FOR-THE-RECORD_THELONIOUS-MONK.jpg?w=1920&q=75&auto=compress&format=jpg)
Thelonious Monk, Monk, Columbia, 1964. Photography: W. Eugene Smith
![](https://images.huckmag.com/wp-content/uploads/2022/05/10.-FOR-THE-RECORD_GRACE-JONES.jpg?w=1920&q=75&auto=compress&format=jpg)
Grace Jones, Island Life, Island Records, 1985. Photography: Jean-Paul Goude; Design: Greg Porto
![](https://images.huckmag.com/wp-content/uploads/2022/05/13.-FOR-THE-RECORD_THE-BEATLES.jpg?w=1920&q=75&auto=compress&format=jpg)
The Beatles, Abbey Road, Apple Records, 1969. Photography: Iain Macmillan; Design: John Kosh
![](https://images.huckmag.com/wp-content/uploads/2022/05/5.-FOR-THE-RECORD_DIANA-ROSS.jpg?w=1920&q=75&auto=compress&format=jpg)
Diana Ross, Silk Electric, 1982. Photography & Design: Andy Warhol
![](https://images.huckmag.com/wp-content/uploads/2022/05/6.-FOR-THE-RECORD_THE-ROLLING-STONES-WARHOL.jpg?w=1920&q=75&auto=compress&format=jpg)
The Rolling Stones, Love You Live, Rolling Stones Records, 1977. Photography & Design: Andy Warhol
![](https://images.huckmag.com/wp-content/uploads/2022/05/12.-FOR-THE-RECORD_BOZ-SCAGGS.jpg?w=1920&q=75&auto=compress&format=jpg)
Boz Scaggs, Middle Man, Columbia, 1980. Photography: Guy Bourdin
![](https://images.huckmag.com/wp-content/uploads/2022/05/3.-FOR-THE-RECORD_LED-ZEPPELIN.jpg?w=1920&q=75&auto=compress&format=jpg)
Led Zeppelin, Physical Graffiti, Swang Song, 1975. Photography: Elliott Erwitt ; Design: AGI/Mike Doud/Peter Corriston
Enjoyed this article? Like Huck on Facebook or follow us on Twitter.
Latest on Huck
![“I refuse to accept child poverty is a normal part of our society”: Apsana Begum MP on voting to scrap the cap](https://images.huckmag.com/tco/images/Huck/332218299_653673959895869_4114766209936780526_n_2024-07-26-125639_apuo.jpg?w=1920&q=75&auto=compress&format=jpg)
“I refuse to accept child poverty is a normal part of our society”: Apsana Begum MP on voting to scrap the cap
After seeking to “enhance” the King’s Speech by voting for the scrapping of the controversial two child benefit cap, the MP for Poplar and Limehouse lost the Labour Whip.
Written by: Apsana Begum
![Is skateboarding really a subculture anymore?](https://images.huckmag.com/tco/images/Huck/Huck81_Socials_HeroImage_SkateboardingIsNotASubculture_240618_V2-1.jpg?w=1920&q=75&auto=compress&format=jpg)
Is skateboarding really a subculture anymore?
With skate’s inclusion in the Olympics, Kyle Beachy asks what it means for the culture around the sport, and whether it’s possible to institutionalise an artform.
Written by: Kyle Beachy
![Autism cannot be cured — stop trying](https://images.huckmag.com/tco/images/Huck/shutterstock_2322534063.jpg?w=1920&q=75&auto=compress&format=jpg)
Autism cannot be cured — stop trying
A questionable study into the ‘reversal’ of autism does nothing but reinforce damaging stereotypes and harm, argues autistic author Jodie Hare.
Written by: Jodie Hare
![Bristol Photo Festival returns for second edition](https://images.huckmag.com/tco/images/Huck/Hashem-Shakeri-from-the-series-_Staring-into-the-Abyss_.-%C2%A9-Hashem-Shakeri.jpg?w=1920&q=75&auto=compress&format=jpg)
Bristol Photo Festival returns for second edition
After the success of it’s inaugural run, the festival returns this autumn with exhibitions, education and community programmes exploring a world in constant motion through still image.
Written by: Ben Smoke
![Documenting the life of a New York gang leader paralysed by gun violence](https://images.huckmag.com/tco/images/Huck/web-Eyanna-has-always-been-Maliks-primary-caregiver.jpg?w=1920&q=75&auto=compress&format=jpg)
Documenting the life of a New York gang leader paralysed by gun violence
New photobook ‘Say Less’ is a complex yet humanising look into a life wrecked by gun violence and organised crime.
Written by: Isaac Muk
![The woman who defined 80s Hip Hop photography](https://images.huckmag.com/tco/images/Huck/7_ULTRAMAGNETIC-MCS_NYC-1990.jpg?w=1920&q=75&auto=compress&format=jpg)
The woman who defined 80s Hip Hop photography
A new exhibition brings together Janette Beckman’s visionary and boundary pushing images of an era of cultural change and moral panic.
Written by: Miss Rosen