Always Leave ‘Em Dying, paperback cover 1969

Curator: We’re looking at the paperback cover art for “Always Leave ‘Em Dying,” painted by Robert McGinnis in 1969. Editor: It has a strong, immediate impact. Very pulp. She reclines sensuously, a leg cocked up toward the fireplace, the entire composition practically breathes sex and maybe even violence. Curator: Precisely. McGinnis was a master of the genre, really shaping its visual language. Think of the paperback as a crucial mass medium in that era, accessible art for the everyday reader. The cover's aesthetic played a crucial role in selling the story. Editor: I notice the tactile contrast of materials here—the smooth, pale skin of the figure against the fur pelt, what looks like the rough stone of the hearth. And that vibrant, almost violently red footwear, it directs our gaze in such an unexpected manner. I have a theory that its deliberate design calls consideration to the fetishized objects that popularize modern consumerism. Curator: Interesting, but remember, erotic art like this often served very particular societal functions, primarily catering to a male gaze. Consider its historical moment, though, amid the sexual revolution. Did the art reflect change or attempt to contain it within established frameworks of power and representation? Editor: I appreciate your analysis, that provides essential context. But consider the process. Think of McGinnis at his easel, choosing the right mix of oil paints to render that fur's texture, each bristle suggesting weight and density. This careful labor gives a visceral impression that invites further inspection. Curator: Labor certainly goes into these images, though it also contributes to the complex economics of art and cultural production. I wonder about the unnamed model here, and how she saw the finished product. Did she believe in the cultural shift this art contributed to, or were wages her sole motivator? Editor: In many ways, it's all interconnected, the making, selling, and the meanings we now project. It highlights the art’s legacy. Curator: Absolutely. Considering the image both as a crafted object and a carrier of cultural significance helps us understand its lasting appeal.