Congratulations to our pal Johnny Deluxe for this fantastic spot; he happened upon this kitsch sketch of an original tits t-shirt while leafing through an early 70s Frederick’s Of Hollywood catalogue.
//Left: Poster, 30 x 20″, one of a series of four, for Generation X residency at The Marque, Soho, London, September 1977. Right: Poster, 60 x 40″, one of a series of five for Stiff Records package tour of UK, October/November, 1977. Design (c) Barney Bubbles Estate//
New York’s Museum Of Modern Art is featuring seven works by the late graphics maestro Barney Bubbles in the current exhibition Making Music Modern: Design For The Eye & Ear.
“Today’s artist, if he does not want to run down and become an antiquated dud, has the choice between technology and class warfare propaganda. In both cases he must give up ‘pure art’.
Either he enrolls as an architect, engineer or advertising artist in the army (unfortunately very feudalistically organized) which develops industrial powers and exploits the world; or as a reporter and critic reflecting the face of our times.”
From Last Round, the conclusion to Art Is In Danger
Today I’m returning to Blessed & Blasted – my occasional series about art manifestos – with Art Is In Danger, issued as a small book in 1925 by George Grosz and John Heartfield’s brother Wieland Hertzfelde.
This choice has been triggered by a charity shop acquisition of the catalogue for the 1979 London exhibition Neue Schachlichkeit And German Realism Of The Twenties, an examination of the so-called “New Objectivity” which arose as a reaction to the establishment of Weimar Germany.
Mr Freedom designs at the V&A: ‘When what has been considered bad taste is suddenly found to be invigorating’
“There is a moment when ‘good taste’ becomes dead; what has been considered ‘bad’ is suddenly found to be invigorating. Fashion today has little to do with la mode and the tacky is often accepted as an essential part of the necessary ‘total’ look. It can be fun.”
Cecil Beaton, introduction to the catalogue for the 1971 V&A exhibition Fashion: An Anthology
Recent visits to the V&A’s Archive of Art & Design have proved fruitful, particularly a viewing earlier this week of the collection of Pop Art clothing sold through London boutique Mr Freedom in the late 60s and early 70s.
From the archive of the late Tommy Roberts, this image from British teen fashion magazine Mirabelle shows a particularly outré commission from fashion’s master of flamboyant retailing: a 7ft high rendition of a King Kong-style gorilla in blue fun fur created by the design team Sue and Simon Haynes.
The new Beatbooks catalogue returns Andrew Sclanders to his primary preoccupation with the creative outpourings of the American Beats and their fellow travellers.
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Time to put away the books, mags, newspapers, pamphlets, catalogues and other materials used as reference for the map The Look Of London, which is published later this week by Herb Lester Associates.
Beatbooks 61: Communal, alternative and psychedelic living; Peyote; Hippies; Music; Psychedelic & Underground Art; Sixties London; Underground Press
The new Beatbooks catalogue lines up the seminal alongside the obscure, from complete sets of Oz, Ink, Gandalf’s Garden and Suck magazines and Time’s “Swinging London” cover story to Robert E. Brown’s The Psychedelic Guide To Preparation Of The Eucharist, LIFE’s July 1969 study of US communes and a rare poster for the Psycho Circus at the Roundhouse in 1967 in support of the Vietnam Solidarity Campaign.
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The new BeatBooks catalogue is preoccupied with a print netherworld encompassing one-offs, limited editions and short-runs published by concrete poets, beats and other outsiders.
There are also juicy examples of smack-sensationalising pulp fiction and – in one section alone – 36 items relating to The Naked Lunch, including Chicago Review excerpts from 1958 and William Burroughs’ first US LP release.