Sound, Vision, and Embodied Performativity in Beyoncé Knowles’ Visual Album Lemonade (2016) by Johanna Hartmann

“…This article focuses on the visual album as intermedial artwork that can be described as a soundscape in which the intermedial constellations fulfill a number of functions: Firstly, intermedial references are a means of cohesion that are responsible for the unified character of the visual album. …”
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The arts of cover music album as a branding tool / Nazirul Munir Mohd Jamel by Mohd Jamel, Nazirul Munir

“…The album's artwork is the first impression of people to buy music album. …”
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Walter Crane : de l’album considéré comme un des Beaux-Arts by Isabelle Guillaume

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The pragmatics and Semiotics Analysis of Vinyl Record Cover Art They Fell From The Sky's Album DECADE by Sigied Himawan Yudhanto, Faizal Risdianto

“…The Astronaut's skull artwork entitled in Indonesian "Binasa" ("Perish" in English) which is the basis of the DECADE album cover design, also strengthens this interpretation. …”
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The playful character of creative alphabets. The case of cover art between the 1930s and the 1970s by Francesca Fatta

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Fine Arts: 4. Proposals Regarding Work Strategies in Visual Arts Activities II. Creating an Interrogative Attitude by Aprotosoaie-Iftimi Ana-Maria

“…In this regard, a mediation is necessary between the technical means and the artwork or reproductions of fine art (either in albums, or displayed on a screen) using guided questions. …”
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From the Earth to the World. Ai Weiwei's Functional Dante Reference in the Music Album <i>The Divine Comedy</i> (2013) and in the Lego Portrait <i>Dante Alighieri in LEGO</i> (2016... by Daniel Brandlechner

“…This article sets out to illuminate two intermedial Dante references in the artwork of the Chinese-western artist Ai Weiwei: the music album The Divine Comedy (2013) and the Lego portrait Dante Alighieri in LEGO (2016). …”
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The Album of the Archconfraternity of the Blessed Sacrament and Five Wounds of Our Lord Jesus Christ at the Corpus Christi Church in Krakow. A Gem of Old Polish Sacred Art and an I... by Kazimierz Łatak

“…In its form, shape, and artwork, it resembles lavishly decorated Mediaeval and Renaissance codices. …”
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OK Computer: Analogue Death, Digital Rebirth, and Radiohead’s Electronic Turn by Kwasu David Tembo

“…It is clear that the thematic leitmotif running throughout the album, influencing everything from Yorke’s lyrics, the sonic dynamism and experimentation on show, to the album’s artwork, is, in a word, denouement. …”
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Modern Death. La critique rock face à Blackstar by Claude Chastagner

“…This article focuses on the French, British, and American reviews of David Bowie’s ultimate album, Blackstar. Almost unanimously positive, they consider the album as the staging by the artist of his own demise. …”
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Black Mothers and Black Boats: Queer, Indigenous, and Afro-Brazilian Intersections in Ney Matogrosso's "Mãe preta (Barco negro)" by Daniel da Silva

“…This article marks Matogrosso’s recording as an iteration of transgender voice and locates—in his performance and album artwork—queer, indigenous, and Afro-Brazilian intersections that rework the mãe preta figure central to Brazil’s foundational narrative. …”
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La bande dessinée Congo 50 ou la mémoire collective d’une indépendance difficile by Sandra Federici

“…The development of ideas and the process of creating the album are digitally archived, and are based on the research of balance between the roles and the workloads of the various project contributors. …”
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DJ Goa Gil: Kalifornian Exile, Dark Yogi and Dreaded Anomaly by Graham St John

“…Bristling with motifs of world sacred sites and appropriated "tribal" icons, with Gil seated cross-legged upon the apex of a Mayan temple, the album's cover artwork confabulates the physical, spiritual and cultural worlds he professes to bridge. …”
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The Modelling of Historical Fact in A. Hudyma’s Novels in Verse by Valentyna Bilyats’ka

“…For example, “Mazepa’s Confessions” consists of six chapters, to each of them, along with the artwork from the album “The Ukrainian antiquity”, there is an epigraph quoting the historical sources. …”
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Konstruowanie atlasu. Surrealizm - fotografia - Reprodukcja by Tomasz Szerszeń

“…The subversive photographic practices of the surrealists related to the status of copies and reproductions are also contextualised here, as are two monumental projects based on reproduction: Aby Warburg’s Mnemosyne Atlas (1924–1929) and Malraux’s Museum of the Imagination (1947–1951), or a “photographic album of universal culture”, but which were created in the face of similar problems to “Documents” (the visual form of knowledge; the “universal” in the face of colonialism; the relationship between artwork and reproduction). …”
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Images of a Sound: Portraits and Pictures of Jazz by Davide Sparti

“…This paper, inspired by an exhibition of jazz album covers, examines the interplay between jazz and the visual arts. …”
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Memories in Steel and Paper: A Spectacular Armor and Its Depictions in Early Modern Augsburg by Chassica Kirchhoff

“…Ein späteres Bild, entstanden um 1575 in Augsburg, zeigt dasselbe Motiv wie die Zeichnungen im Thun-Hohenstein Album: Es könnte sich demnach hier um eine Kopie handeln. …”
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Reclaiming Adolescent Sexuality: Images of Girlhood in Petra Collins’s Babe by Aleksandra Kamińska

“…I read the collected artwork as an attempt to present the image of the girl (including her sexuality) from a young woman’s perspective. …”
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Edge-Orientation Entropy Predicts Preference for Diverse Types of Man-Made Images by Maria Grebenkina, Anselm Brachmann, Marco Bertamini, Ali Kaduhm, Christoph Redies

“…We recently found that luminance edges are more evenly distributed across orientations in large subsets of traditional artworks, i.e., artworks are characterized by a relatively high entropy of edge orientations, when compared to several categories of other (non-art) images. …”
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The Attribution of Works of Russian Stonecutting Factories: Object, Design, and Issues of Authorship in the Context of Cross-Cultural Exchange by Liudmila Alekseevna Budrina

“…This paper considers a specific source of borrowing (L’art industriel, an engraved album of Leon Feuchère’s drawings, 1839) and the interpretation of three samples from this illustrated edition by Russian masters of stonecutting of the second half of the 19th century. …”
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