#OK COMPUTER RADIOHEAD ALBUM COVERS FULL#
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This is another cover that grew on me quite a bit. There's nothing bad here, but a lot of the tracks in the second half didn't quite click with me as wonderfully as the first half did (No Surprises is still a top 10 Radiohead song tho) It's certainly a more significant and groundbreaking musical statement than A Moon Shaped Pool, but I prefer the consistent melancholic beauty of that record sliiiiightly more than the inconsistent decadence of OK Computer. OK Computer at #4? And below A Moon Shaped Pool? What the hell are you trying to pull here?!?!?! I think the first half of this album is damn near perfect, but, if I'm being honest, I think the second half kinda dips in quality.

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The exhibition opens free to the public Sunday 24 May – 6 June 2015.Woah, woah, woah. Semi-Permanent ticket holders have exclusive access to Stanley Donwood: The Panic Office from 21 - 23 May, including the opening party on Thursday 21 May. 'You can go up and up and up, but it's made of corrugated iron… It would be infinitely high and there would be no top and you'd just have to keep walking through this world.' 'I'd like to build like a tower of Babel in this style,' he says. Asked what he would do with an unlimited budget, though, he has his own vision. Right now, he's planning more collaborative work with Yorke in which he hopes he and the musician can together break habit and produce some non-narrative and non-figurative works. You want it on 15,000 t-shirts? That’s fine.'Īlthough this exhibition has allowed him to take stock of his career, Donwood promises that he won’t be slowing down in his art anytime soon. They thought it was a really cheerful image, and I was just like, OK. 'This painting made them think of the setting sun and I didn’t have the heart to tell them that what I intended it to be was a Ballardian nuclear flash, with the trees burnt leafless and dead. He gives the example of one of his colourful landscapes chosen by the Glastonbury Festival organisers for last year's merchandising. Because really I don't want that, I want other people to do that.'Īlthough he admits sometimes people have got it just plain wrong. 'I'm kind of worried about interpreting my own work too much. Donwood, however, is reluctant to find patterns in his own work.

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His work seems to be filled with dystopic landscapes (much in the style of his favourite author JG Ballard) not least of which is the hellish 'goat boardroom' full of suited, hedonistic beasts covered in red paint. While this collaborative relationship has clearly been very important to Donwood, it's his own distinct style across diverse subject matter that makes the exhibition interesting. 'I was thinking, when I was doing the first Radiohead album, my daughter was two weeks old. It seems like it's nice, but it's also a bit sad,' he says. 'It's a bit like looking through old photograph albums, and you know, seeing your parents as young people. The process of putting together an exhibition covering decades has been daunting, but Donwood admits that in digging through the endless piles of work he has done with Yorke he has not been immune to the nostalgia of it all. The role of collaboration in Donwood’s work is obvious, not least in the dominating audio piece produced by Yorke that soundtracks the exhibition. Perhaps in a play on the interpretive role he's often played for other people’s work, Donwood plans on completing the central room with a collection of public submissions where people have been asked to re-interpret his iconic pointy-toothed bear to adorn a grand obelisk. Each room feels complete and contains collections that, while focusing on a particular album cover's artwork, feel more like a glimpse at different narratives of Donwood's making. This maze-like space is a brilliant stroke in such a diverse exhibition. Even more so, since the image of a weeping Minotaur fills the room dedicated to the Amnesiac album cover artwork. The Panic Office, as you enter, has the feeling of an industrial labyrinth. But in this retrospective show - covering more than twenty years - we're given more than just a Donwood & Yorke nostalgia piece. Most people visiting the Sydney exhibition (presented by Carriageworks and Semi-Permanent) will know Donwood best as the artist behind Radiohead's album covers since 1995, alongside other collaborations with lead singer Thom Yorke. Filling the centre of one of Carriageworks's largest spaces and pushing up against five-metre high industrial pillars on all sides, it looks like a bombarded barricade in a post-apocalyptic city. On first sight, Stanley Donwood's retrospective exhibition, The Panic Office, is an impressive and ominous structure.

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