Then he struck upon having a white square obscure much of the photo. In Sukita’s “ Heroes” cover photograph, by contrast, “there’s a distance.” The photo is highly stylized (Bowie replicating a hand gesture from a favorite Egon Schiele painting) and completely contained: it’s Bowie as a god in a universe of one.īarnbrook first scrawled over the “ Heroes” photograph and titles: it looked like a bitter ex-fan had wielded a magic marker (it was the scabrous recycled look of some Fall and Pavement album covers). But “subverting didn’t work because it’s subversive already…if you subvert Aladdin Sane, you’re adding to it, not destroying it.” He experimented on nearly every Bowie LP cover, with Aladdin Sane a promising candidate. “ I thought it would be quite a shocking thing to do and also play with this idea of image,” he told the journalist Rob Meyers. He wasn’t alone.Ĭommissioned by Bowie in September 2012, Barnbrook proposed that the Next Day cover image should be the defaced cover of an earlier Bowie album.
“ I thought that some fan made a joke cover,” Tony Visconti recalled his reaction upon first seeing Jonathan Barnbrook’s The Next Day image. Designed September-December 2012 issued 8 March 2013.
Designer: Jonathan Barnbrook (photo: Masayoshi Sukita).
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