Europunk focuses on the visual culture of Punk in Europe in the second half of the 1970s. Rather than telling a well rehearsed history that follows the path of musical influences (New York – 1974; London – 1976; Continental Europe & the US West Coast – 1977/82), it starts with the simultaneous appearance of an alternative way of creating and using images in England and France around 1975-76, in the hands of graphic designers, illustrators, image makers and agitators such as Jamie Reid, Malcolm McLaren or Bazooka (a team consisting of Olivia Clavel, Kiki Picasso, Loulou Picasso, Ti-5 Dur and Bernard Vidal). It proceeds with the images and methods that began to spread all over Europe, before the advent of New-Wave and the transfer into high-culture, with emphasis on local scenes as lively as Amsterdam, Berlin, Brussels, Düsseldorf, Geneva, London, Manchester, Milano, Paris, Pordenone, Zürich.
From posters for punk-rock bands and indie filmmakers to fanzines and other independent publications, the art of the punk movement revolutionized design in ways whose influence is still felt today, and reflected the consciousness of a counterculture with a clarity seldom seen since.
Drawing on private and public archives of rare material from around the world, this heavily illustrated book presents an unrivaled collection of punk art and ephemera that incorporates every aspect of the movement, from the earliest occurrences of punk symbolism in posters and flyers for underground bands to the explosion of fanzines and Xerox culture, and from rare photographs of musicians such as the Sex Pistols and the Screamers to the artwork of Crass, Jamie Reid, John Holmstrom, and the contemporary street artist Banksy.
With more than three hundred images and accompanying essays by Johan Kugelberg, Jon Savage, and William Gibson, this definitive visual narrative illustrates how the DIY ethic of the punk era inspired a movement in graphic arts and design whose influence is still felt among the most significant figures in the fields today.
A one off zine style piece, taking the punk art aesthetic of clip art and collage to a new level. Created by Jon Savage and Linder Sterling in 1978, the zine provided social commentary on gender and gender roles, portraying fractured women in domestic settings, as well as skewering masculinity and its impact on the punk scene and society in general (Poynor, p. 23). Developed as a visual zine, Savage collaborated with Linder Sterling, noting that “Linder was already making very pointed images about feminism, about the role of women and how they were treated and I was developing a gay consciousness and ideas about masculinity,” (Piller and Rowland, Punkzines p. 166). Savage also mentions that some of the images were considered obscene, leading to difficulties in finding a printer.
This beautifully designed three volume boxed set presents new photographic work by Hedi Slimane, the iconic fashion designer who, during tenures at Yves Saint Laurent and Christian Dior, has infused men’s fashion with an androgynous, rock n’ roll swerve. The first volume is an album of Slimane’s photographs of the Lollapalooza-esque three-day Festival Internacional de Benicassim on the East coast of Spain, the second is devoted to images of the new British and American rock scenes and the third contains essays on Slimane’s work by art critic Vince Aletti and music critic Jon Savage. In a 2003 conversation with Interview’s Ingrid Sischy, Slimane discussed his beginnings as a photographer: “I started taking pictures before I even began in fashion. I didn’t start with clothes until I was 16, but I had my first camera when I was 11. I’ve always taken pictures, almost like some people take notes or write down their thoughts.” As this collection reveals, Slimane’s photographs of the international music scene are as fresh and intrinsic as his paradigm-shifting work in fashion.
Malcolm McLaren didn’t invent Punk. All he did was envisage it, design it, clothe it, publicize it, and sell it. In the film, “The Great Rock’n Roll Swindle,” he appears in a black rubber garment and mask of his own design and whispers the above in a conspiratorial voice. Thus begins the story of how he went on to swindle a fortune from the British music industry. Impresario takes a lively and provocative look at the interface between popular culture as orchestrated by the controversial figure of Malcolm McLaren, the arena of High Culture, and the ever increasing public for both. Essays by Paul Taylor, Jane Withers, Jon Savage, and Dan Graham trace McLaren’s career as a pop entrepreneur at 430 Kings Road (the London boutique also known as Let It Rock SEX, and Seditionaries), as the mastermind behind the Sex Pistols, Adam and the Ants, and Bow Wow Wow, which earned him the title, “Svengali of Punk” and as the manipulator of media who turned himself into his own product with the launching of the prescient album Duck Rock and the brilliant pastiche, Fans. The more than 50 illustrations comprise a visual biography of McLaren, encompassing the full range of his work as designer, filmmaker, musician, and cultural theorist. By focusing on McLaren’s career as well as on the collaborative and crossover character of his work Impresario challenges and ultimately broadens our accepted notions of art.
Linder Sterling’s work had its first exposure in the punk fanzine The Secret Public and as art for the sleeve of the Buzzcocks’ first single, “Orgasm Addict.” Soon she had her own band, Ludus, founded with Ian Divine. Her visuals and her performances have remained legendary in the musical world–for example, a costume consisting of raw meat and a black vibrator, worn for a special evening at the Hacienda–but these formative contributions to the aesthetics of punk and its offshoots have only recently received wider recognition. With no clear academic career path, without institutional or curatorial support, Linder has continued to make multidisciplinary work, work that has led observers to call her the missing link between Yoko Ono and Tracey Emin. This first book, a rediscovery and a debut at once, includes contributions from writers and cultural figures including Philip Hoare, Jon Savage, Andrew Renton, Lynne Tillman, Paul Bailey and Morrissey.
This publication is a catalogue produced in conjunction with an exhibition commemorating the 40th anniversary of the release of the album, The Velvet Underground and Nico. The album, perhaps the most famous debut by any band in the history of rock and roll, continues to resonate today with collectors, indie-rockers, aficionados, critics and the culture at large. Its enormous presence, however, had yet to be fully examined in an exhibition. This show attempted to correct that oversight, offering the most comprehensive collection of Velvet Underground memorabilia and artifacts yet to be seen in New York City. The catalogue tells the story of the album and the Velvet Underground through the historical artifacts of the period. Drawn from public and private collections, the show featured reproductions of rare printed work – posters, books, silk-screens, ads, reviews, and ephemera – as well as albums and photographs. The look, a fascinating hybrid of art, design and musical cool, is all documented here with text contributions from Johan Kugelberg, William Gibson, John McWhinnie, Jon Savage, Jonathan Richman, Jack Womack and Richard Prince.
accolta di saggi sull’acido lisergico firmati, tra gli altri, da Tim Leary, William Burroughs, Alan Watts. Questo libro fu scritto anni prima che l’LSD diventasse una sostanza illegale e massicciamente consumata dalle giovani generazioni dell’era hippie. Nel 1964, quando La Droga che Dilata la Coscienza fu pubblicato in USA, ad occuparsi dell’LSD erano infatti prevalentemente psichiatri e chimici in ambito accademico. Questa edizione italiana uscì alla fine del 1967; in quei tre anni, in un clima da caccia alle streghe, l’America benpensante era passata al contrattacco, le ricerche accademiche erano state interrotte e studiosi come Tim Leary e Richard Alpert erano stati isolati e privati delle cattedre. Nel volume, gli studiosi (psichiatri, filosofi e scienziati) affrontano il potente allucinogeno dal punto di vista filosofico, antropologico e terapeutico mettendo anche in guardia – lo fa Grinker in special modo – da un uso indiscriminato ed irresponsabile. Sommario: – Ringraziamenti – Prefazione del curatore – Introduzione di Timothy Leary – Cultura e individuo di Aldous Huxley – Gli allucinogeni: giudizio obiettivo di un cronista di Dan Wakefield – Un viaggio nello spazio interno di Alan Harrington – Come modificare il comportamento di Timothy Leary – L’esperienza psichelica: fatto o fantasia? di Alan Watts – Analisi degli effetti clinici degli agenti psicotomimetici di Humphry Osmond – Droghe e religione di Huston Smith – Differenze tra droghe sedative e droghe dilatatrici della coscienza di William S. Burroughs L’LSD, la trascendenza e il nuovo inizio di James Terrill, Charles Savage, Donald D. Jackson – I. La natura dell’esperienza LSD di James Terrill – II. LSD, alcolismo e trascendenza di Charles Savage – III. LSD e il nuovo inizio di Donald D. Jackson – Mescalina, LSD, psilocibina e mutamenti della personalità di Sanford Unger – La dietilamide dell’acido lisergico di Roy R. Grinker – Una rassegna degli studi sulle droghe psicotomimetiche di Jonathan O.Cole, Martin M. Katz – Il dolore e l’LSD-25. Una teoria sull’attenzione dell’anticipazione di Erich Kast – La bibliografia sull’LSD in psicoterapia di Sanford M. Unger – Note
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