One question—maybe the most pressing question—is how the public feels about that brutal ratio of one targeted death to five or six unintended. The evidence so far is that the public is more or less okay with it.
George Lois on the first cover he art directed for Esquire:
Hayes mentioned that we were going to have a spread of Floyd Patterson, the boxing champion of the world, and Sonny Liston, the challenger, and Patterson was an 8–1 favorite. I knew right away what I was going to do, because I knew that Liston was going to kill him. So I called the photographer, and I said, “We’re going to get a guy with the same body as Patterson, we’re going to lay him flat on the ring, and we’re going to show him killed, knocked out by Liston. Leave him for dead.” I wanted to show a metaphor for boxing — if you’re a loser, you’re left for dead, which is also a metaphor for life. So we get the shot and I sent it to Hayes.
“George, I never saw a cover like this in my life! You’re calling the fight — suppose you’re wrong? Everybody says you’re wrong.” I told him we had a 50/50 chance of it working, but if it does, it shows we have balls. It hit the newsstand a week before the fight, and it was roundly laughed at in the sports crowd. But a week later, of course Liston kills Patterson, just like I thought. And Esquire got tons of publicity and the best sales since the start of the magazine. And Harold said to me, “You gotta keep doing my covers.”
He went on to create 92 iconic covers during the 1960s that were exhibited at MoMA and added to the permanent collection. Unfortunately only five of the covers have their image rights cleared to display online. Not many people realize that even if a work is “owned” by the museum, having the right to display it online is another matter. This is an issue the Brooklyn Museum has addressed nicely on their blog. This is why photography is usually not allowed in museums, except within the older permanent collections.