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Harland MillerPlaster NO. 1 Magazine Hand Signed LUV Harland Miller Large Poster 2020 Fine Art2020
2020
About the Item
With Josh Crumpler on the design and layout, the team sought to give issue its own stamp – “to really give a sense of who the artist is,” says Milo. In this sense, they wanted to distinguish how Harland was “very carefree” and how he had a “slightly punk” attitude on life, but also how his was was notably concise. “It was about bringing together those elements,” continues Milo. “He is pleased with how it came out so that was a big plus.”
Upon deciding on the aesthetic and feel of the magazine, Milo goes on to explain how they pulled many cues from postmodernism. Especially that of mixed-media, and how, with Harland producing his own self-portrait to be included in the issue, they wanted to juxtapose the photograph with a handwritten Q&A. “Harland’s work merges a love of pop culture, abstract expressionism and wordplay,” says Milo, “so the combination of these styles really fit the mould and influenced the design of Plaster.” This conception effortlessly rings out from the magazine, with what Milo describes as “clashing Herb Lubalin-esque typography, DIY aesthetics with the minimal.”
The magazine not only presents the artist through its considered visuals, it also goes deep into their practice. This means that Plaster was going to present an array of different media and content within each issue, and that it needed to provide a long-lasting identity that would be able to work with each varied artist. “Defying a strict limitation of weights and styling within the chosen typefaces, as well as use of colour, the intention is to create something that can remain expressive with each issue.” Much like a canvas ready to be filled with vibrant works, the result for the first issue sees a neon yellow typeface and extended serif in the logo and headlines.
Inspired by Parkett and much of Purple Magazines earlier issues from the 90s, Plaster has a certain nostalgia and classic feel about it – yet what they’re doing undoubtedly feels quite fresh. “We both felt there wasn’t a contemporary art publication speaking to and for a youth audience,” Milo continues. “We recognise the lines blurred between fashion, art and music, but we wanted to produce a publication that celebrated artists and people who, more so than ever, shape art tastes and beliefs.”
- Creator:Harland Miller (1972, British)
- Creation Year:2020
- Dimensions:Height: 24 in (60.96 cm)Width: 18 in (45.72 cm)
- Medium:
- Movement & Style:
- Period:
- Framing:Framing Options Available
- Condition:
- Gallery Location:Draper, UT
- Reference Number:1stDibs: LU132727637732
Harland Miller
Harland Miller is a British artist and novelist, born in 1964, in Yorkshire, England. He is best known for his satirical paintings of re-imagined Penguin classics, often with his invented sardonic titles. He takes artistic influence from Ed Ruscha, Anselm Kiefer and Robert Rauschenberg and cites Mark Rothko as one of his favorite artists. He attended the Chelsea College of Art, in London, from where he received his BA and MA degrees, after which he traveled extensively, living in New York, New Orleans, Paris and Berlin. Miller first achieved critical acclaim with his writing. His debut novel, Slow down Arthur, Stick to Thirty (2000), featured a kid who travels around northern England, with a David Bowie impersonator. In the same year, Miller published the novella, First I was Afraid, I was Petrified, based on the true story of a female relative with Obsessive-Compulsive Disorder. In 2001, Miller produced the first of a series of paintings, based on the dust jackets of old Penguin books. He was struck by the visceral nostalgia that the book covers, rather than their contents, evoked.
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