自现代主义始，视觉艺术和音乐制作就有着紧密联系。从路易吉·鲁索洛（Luigi Russolo） 1913年的未来主义宣言《噪音艺术》到马塞尔·杜尚（Marcel Duchamp） 1925年的旋转浮雕——一种放在唱机转盘上旋转的装饰性碟片，20世纪见证了声音和形状、标记和旋律、以及不同领域的作曲和表演之间更加丰富的交流。

在书中，弗朗西斯科·斯潘皮纳托（Francesco Spampinato）收集的艺术家唱片封面中，我们发现了这段特殊的文化历史。书中收集了自上个世纪 50 年代迄今共450张艺术家创作的唱片封面，探讨了现代主义、波普艺术、概念艺术、后现代主义以及当代艺术实践如何让充斥各种标志性图像的唱片变得“有声有色”，并促进了艺术和音乐的大众传播。

一路走来，我们发现了让·米歇尔·巴斯奎特（Jean-Michel Basquiat）为他自己的Tartown厂牌制作的涂鸦封面，班克斯（Banksy）为Blur模糊乐队的专辑《Think Tank》设计的封面，以及萨尔瓦多·达利（Salvador Dalí）为杰基·格里森（Jackie Gleason）的专辑《Lonesome Echo》创作的蝴蝶封面。在封面旁边有深刻的分析和情况介绍，列出了艺术家、表演者、专辑名称、标签、发行年份和原始艺术品的信息。陶巴·奥尔巴赫（Tauba Auerbach）、谢帕德·费瑞（Shepard Fairey）、金·戈顿（Kim Gordon）、克里斯蒂安·马克雷（Christian Marclay）、阿尔伯特·厄伦（Albert Oehlen）和雷蒙德·帕提伯恩（Raymond Pettibon）的采访增加了艺术家和音乐家之间合作关系的描述。

Since the dawn of modernism, visual and music production have had a particularly intimate relationship. From Luigi Russolo's 1913 Futurist manifesto L'Arte dei Rumori (The Art of Noise) to Marcel Duchamp's 1925 double-

sided discs Rotoreliefs, the 20th century saw ever more fertile exchange between sounds and shapes, marks and melodies, and different fields of composition and performance.

In Francesco Spampinato's unique anthology of artists' record covers, we discover the rhythm of this particular cultural history. The book presents 450 covers and records by visual artists from the 1950s through to today, exploring how modernism, Pop Art, Conceptual Art, postmodernism, and various forms of contemporary art practice have all informed this collateral field of visual production and supported the mass distribution of music with defining imagery that swiftly and suggestively evokes an aural encounter.

Along the way, we find Jean-

Michel Basquiat's urban hieroglyphs for his own Tartown record label, Banksy's stenciled graffiti for Blur, and a skewered Salvador Dalí butterfly on Jackie Gleason's Lonesome Echo. There are insightful analyses and fact sheets alongside the covers listing the artist, performer, album name, label, year of release, and information on the original artwork. Interviews with Tauba Auerbach, Shepard Fairey, Kim Gordon, Christian Marclay, Albert Oehlen, and Raymond Pettibon add personal accounts on the collaborative relationship between artists and musicians.