The November issue of British Harper’s Bazaar comes with the magazine’s second Art supplement, building on its long-term relationship with contemporary artists that stretches back to modernist icons such as Dali, Cocteau and Warhol.
The supplement is published with six alternative covers featuring work by artists including Takashi Murakami, Howard Hodgkin and Wolfgang Tillmans. I love the logos developed for each cover, based on early Harper’s front covers from the magazine’s archive. More after the jump.
September 25, 2014
It’s Nice That go behind the scenes of the redesign of Elephant magazine.
Selectism takes a quick look at our magmagmag collaboration with Vitsoe.
Amelia’s Magazine returns for an anniversary one-off.
A big welcome to Lagom magazine.
The new creative team at the New York Times Magazine begin to make their mark, dropping ‘The One-Page Magazine’.
Grafik reviews the Index A-Z book.
Gasconder has a nicely linked round-up of recent magazine news.
Wired repurposes an excerpt from our recent Visual Editions project ‘Kitten Clone’.
The next printout has rather snuck up on us; it takes place tonight (Tuesday 23rd) at the usual venue, The Book Club, Shoreditch. We have four photo-led magazines represented: We Are Here, Brewster, Pylot and Huck.
Tickets are available online until 5pm this evening, but you can also buy them at the door, £6.00.
The Book Club, 100 Leonard Street EC2A 4RH
Printed Pages editor James Cartwright ponders the importance of a cover strategy, ‘I hate turquoise but I think Robyn’s great – but I still don’t want to pick up the new issue, because, did I mention, I hate turquoise.’
BSME announce their awards shortlist.
Mr Magazine’s ACT5 event in Mississippi is a well-organised business-orientated magazine conference.
George Orwell critiques a 1950s fashion magazine , ‘A fairly diligent search through the magazine reveals two discreet allusions to gray hair, but if there is anywhere a direct mention of fatness or middle-age I have not found.’ (via Bo Sacks).
The Modernist needs your support for year four.
In the magCulture shop: the brand new Gym Class, Alquimie, Printed Pages, Riposte… pre-order Fiera… and plenty more.
A huge thank you to everyone involved in making last week’s The Modern Magazine 2014 such a success. The LCC theatre was full to hear some great lectures and discussions about the state of our industry.
Thank you to all the speakers for putting so much energy into the day, to everyone at the London College of Communication, to the student volunteers, the magCulture team (Lesley, Steph, Jese, and Raechel) and to Liv Siddall for smart hosting. Supporters Park Communications, Sappi and Commercial Type deserve a thank you too, as does Tyler Brulé and Monocle for providing the drinks at the end of the day. Thank you all!
But it would be nothing without an audience, so thnaks as well are due to everyone who took a day out of their work and/or studies to join us. I hope you enoyed the day too.
There’s plenty more to share; for now have a listen to me and some of the speakers on the weekend’s edition of The Stack on Monocle24.
Look out here for a series of video interviews from the day over the next few weeks, along with more photos. And read Sarah Snaith’s series of live posts form the event:
Report by Sarah Snaith
The final session of the day included a presentation by Riposte founder Danielle Pender, an independent magazine panel chaired by Steve Watson, a talk by Pekka Toivonen from FAT magazine and a presentation by Adam Moss, editor-in-chief of New York magazine.
Report by Sarah Snaith
Peter Houston started the afternoon session by talking about the publishing project The Magazine Diaries that benefits MagAid, a charitable offshoot of the National Literacy Trust. He asked, “What does it feel like to be a magazine professional caught in the middle of the biggest disruption in publishing history?” The project collates a series of 100 word entries, “designed to challenge writers to express interesting and meaningful ideas in an extremely confined space”, from key figures in the publishing industry, many of who were in the audience.
To start the second session of The Modern Magazine 2014, Gideon Spanier interviewed Jeremy Langmead, chief content officer at Christie’s. Formerly editor-in-chief of Mr Porter, Jeremy spoke about immersing himself in the Christie’s experience in order to develop the editorial profile of the auction house: “We wanted to celebrate what print was. We spent a lot of time in the old Christie’s archive and studied the typography and, respecting Christie’s heritage, brought it into 2014.” Jeremy said, “To create content you need to live and breath the brand. To get a taste for it.” Gideon probed Jeremy about Christie’s decision to initiate a new print magazine. Jeremy said: “In some ways it is a glorified brochure, but we wanted copy that opened up the art world and would be open about the exchange of art and the exchange of ideas. We’ve produced hundred of catalogues and brochures over the years for each sale in the last 250 years, so print is already a big part of Christie’s. But soon, there will be daily online content. Online allows you to be nimble.”
Jeremy opened the second Modern Magazine conference (#modmag14) by asking questions: Where will we be in ten years time? Should mainstream publishing be looking to the independent magazine scene to learn and develop what they are doing? Can content marketing work? Can you make great editorial to support brands?