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-Dada cells’. The reader who was familiar with the graphic design of A/traverso and Zut would have recognised similarities with La Rivoluzione, which instantiated the same proto-punk aesthetic made possible by the bold use of off-set printing techniques. The texts incorporated several fonts and were occasionally pasted from other publications or added manually with a marker pen. The layout deliberately appeared rough and chaotic, indifferent to straight lines and the divisions between plates and articles. Page 1 contained a Maoist slogan, ‘The revolution is just, necessary

in Art, Global Maoism and the Chinese Cultural Revolution
Raymond Pettibon’s drawing-writing

, ekphrasis is here approached neither as a site of antagonism nor as a convergence of the sisterly arts, but rather as a locus of a productive encounter. Born in 1957 in Tucson, Arizona, Raymond Pettibon is an American artist who first garnered acclaim in the Californian punk-rock scene in the late 1970s. Initially he became known for his album-cover and flyer designs, as well as selfpublished, staple-bound zines that were available via mail order. His notoriety within the punk scene rests especially on his design of the four-bar logo for the band Black Flag, but also for

in Ekphrastic encounters
Creativity at a time of institutional decline

be connected to the 1970s and 1980s DIY aesthetic of fanzines. DIY zine production often featured low-resolution, collaged or appropriated imagery, deliberately low-tech and handmade in appearance. This graphic style was associated with punk and other anti-establishment subcultures; it rejected the ideological drivers that lay behind high-production value commercial image making.61 A similarly hacked-up collage aesthetic is visible in many examples from the Gov (despite the fact that the pieces would have taken time and care to produce). In this case, however, the

in Hot metal
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small headlamps, so that different rhythms would strike up different shadows. (Johnson 2015: 48) Playing her assisted drum kit created bridges between action, sound and light, as the  act of drumming triggered the synchronous production of percussive sounds and  lighting effects – so that the drum kit (and the performance) was ‘lit by its own lights’. The constructions would be played in various situations, including the parties she organised at Butlers Wharf, attended by the punk rock royalty who constituted her wider circle, including Jayne (then Wayne) County and

in Unlimited action

Ramirez) described the violence of The Destroyed Room in the Nova Gallery window as ‘obviously a lover’s room, wrecked at the finality of the passion … [or] the scene of a sexual assault, or [a proto-punk gang’s] destruction for the joy of it.’22 Ramirez’s review, which also discussed Faking Death, contained three primary observations The 1970s and the gendered spaces of the counter tradition of The Destroyed Room: Wall’s violent ‘punkish aesthetic,’ his references to earlier canonical European painting, and the photograph’s relationship to the defeatured landscape

in Engendering an avant-garde
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’, ‘overcome’ by feeling or ‘temporarily incapacitated’ by madness, hate or rage (1971: 224). Similarly, it would be convenient to disregard the Kipper Kids’ disposition towards self-sabotage not as active and productive but as mere short-sightedness, the upshot of The art of sabotage  163 youthful mischief, punk rock radicalism, drink, personality disorders or poor career management. While some of these characteristics are in arguable operation, I follow Taylor and Walton’s definition and approach to maintain that the Kipper Kids’ early performances and films use

in Unlimited action
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Pin’ paintings. These works, another continuing series of Sameshima’s, are an exuberant visual collapse of sexual positions, punk aesthetics, and the languages of ‘safe sex’ that flowed from the HIV/ AIDS pandemic. Placed in another room were two white-on-white silkscreen appropriations of ‘Toilet Talk’ cartoons (also sourced from Drummer), in which two urinals engage in a jokey call-and-response regarding queer sexual Dean Sameshima, ‘Numbers’ installation, Peres Projects, Berlin 5.4 116 Bound together practice and surveillance (‘Q: How do you feel about Vice

in Bound together

Sprayed with Tears (also the title of exhibition). The video begins with Master Jones, played by erstwhile punk musician Jonesy (one of the members of Die Kränken), dressed in full leathers: cap, jacket, pants, boots, gloves, and aviator sunglasses (figure 2.3). He is seated in front of a painted backdrop of gray stones surrounding a hefty-looking door—a Die Kränken, video still from Sprayed with Tears, 2016, digital transfer of single channel VHS, 21 minutes CAMPBELL 9781526142801 PRINT.indd 41 2.3 22/11/2019 11:38 42 Bound together cartoonish imitation of a

in Bound together

and the seemingly causal relationships between the Mail Action and Prostitution and other scandals in the immediate period – including, in addition to art scandals, the rise of punk as a popular form of cultural agitation – suggest a formidable cultural war in the UK that tends not to be identified as such, beyond Simon Ford’s useful observation of a direct correlation between COUM and Cohen’s concept of ‘moral panic’ (Ford 1999: 6.22). Couming on strong Set amid the social, cultural and economic ferment indicated by culture war, the performances and mail art of P

in Unlimited action

creating paintings to staging actions and performances to express his sincerity. Mavramoti’s reworking of the narrative speaks to artists’ belief at that time in the honesty and integrity of action and performance art. Despite Mavromati’s intentions with regard to the performance, the work’s co-opting of religious imagery and symbolism led to its interpretation as offensive by believers. Article 282 was used most stringently to imprison three members of the Russian feminist punk group Pussy Riot following their action in the Cathedral of Christ the Saviour on 21 February

in Performance art in Eastern Europe since 1960