Questions about Jann Haworth
Short answers, pulled from the story.
What is Jann Haworth best known for?
Jann Haworth is best known as the co-creator, alongside Peter Blake, of The Beatles' 1967 Sgt. Pepper's Lonely Hearts Club Band album cover. She and Blake received the Grammy Award for Best Album Cover in the Graphic Arts category in 1968 for that design.
What role did Jann Haworth play in designing the Sgt. Pepper album cover?
Haworth hand-tinted the life-size black-and-white photographs that were pasted onto hardboard for the cover’s crowd scene. She also added cloth dummies of her own, including an Old Lady figure and a Shirley Temple doll wearing a “Welcome The Rolling Stones” sweater, and originated the idea of the band’s name written in civic flower-bed lettering, inspired by the municipal flower-clock in Hammersmith, West London.
Who were Jann Haworth's parents and how did they influence her art?
Haworth's mother, Miriam Haworth, was a ceramist, printmaker, and painter who taught her to sew. Her father, Ted Haworth, was an Academy Award-winning art director and Hollywood production designer. Shadowing her father on film sets gave Haworth the concept of stand-ins, dummies, and latex surrogates as artistic devices.
What is Jann Haworth's SLC PEPPER mural?
SLC PEPPER is a 50-by-30-foot civic wall mural in downtown Salt Lake City, Utah, begun in 2004. Haworth created it with more than thirty artists as an updated version of the Sgt. Pepper's album cover, replacing the original figures with heroes and heroines of the 21st century rendered in stencil graffiti. The first phase was completed in 2005 and the project remains ongoing.
Where did Jann Haworth study art?
Haworth enrolled at the University of California, Los Angeles in 1959, then moved to London in 1961 to study art history at the Courtauld Institute of Art and studio art at the Slade School of Fine Art.
Why did Jann Haworth choose cloth, latex, and sequins as her artistic materials?
Haworth chose those materials as a deliberate act of defiance at the Slade School of Fine Art, where tutors openly dismissed female students. She described cloth, latex, and sequins as a female language to which the male students did not have access, making her medium itself a form of competition.