//Window display for Impresario at the New Museum, Sept 16 – Nov 20, 1988. Image from the New Museum Digital Archive//
//Introduction to the show. Image from the New Museum Digital Archive//
My biography of the late Malcolm McLaren will now be published in April 2020, exactly 10 years after his premature death at the age of 64.
Next month British artists David Stephenson and Josh Stapleton’s music project Robert Fraser’s Groovy Arts Club Band releases a limited edition double vinyl album to coincide with the opening of the exhibition of the same name at London gallery Gazelli Art House.
The show, curated by Stephenson and Gazelli’s Mila Askarova, celebrates the life and work of the art dealer Robert Fraser, the “Groovy Bob” of pop culture legend who represented cutting edge artists from the 1960s to the 80s.
Housed in a handsome gatefold sleeve designed by the great British artist Derek Boshier, the limited edition record features tracks dedicated not just to Fraser but also the constellation of artists in his firmament, including Boshier himself (on the track An Englishman in LA), Jean-Michel Basquiat (Samo), Brian Clarke (Dangerous Visions Of Brian Clark), Keith Haring (Keith Haring’s Pop Shop) and Ed Ruscha (I Want To Hang Out With Ed Ruscha).
Robert Fraser’s Groovy Arts Club Band is available from January 10 from Gazelli Art House. Order copies here.
The exhibition runs from January 11 to February 23, 2019. Details here.
Harriet Vyner’s must-read biography of Fraser is available here.
//A Prayer For Madonna, The Face, September 1983. Photography: Kate Simon, text: James Truman. This was the superstar’s first substantial UK press appearance, five months ahead of her British live debut//
Of the many talented photographers who provided The Face with its visual verve, Kate Simon was uniquely positioned to chronicle the cutting edge cultural developments in New York in the 1980s.
Simon had spent much of the previous decade in London, photographing musicians and performers from Bob Marley and David Bowie to the Sex Pistols and The Clash (whose debut album features her striking portrait of Strummer, Jones and Simonon). Crucially, Simon’s work also appeared in the New Musical Express during The Face founder Nick Logan’s editorship of the music paper.
//Voodoo and Magic Practices, Jean Kerboull, Barrie and Jenkins, 1978. Translated from the French by John Shaw//
This is the book which inspired the late Malcolm McLaren to unite the design ideas he developed with Vivienne Westwood for their Autumn/Winter 1983 fashion collection Witches.
At the time McLaren was completing his album Duck Rock, which was conceived as an ethnological travelogue and modelled on the LP series Dances Of the World’s Peoples released on the ethnographic Folkways label; in fact, Duck Rock was originally titled Folk Dances Of The World and the incorporation of an illustrated insert containing track-by-track explanations was taken from the one which appeared in the 1958 albums.
//Malcolm McLaren and Andrea Linz with a Hambleton Shadow Man in the West Village, NYC, April 1983. © Bob Gruen/www.bobgruen.com. Please contact Bob Gruen’s studio to purchase a print or license this photo. Email: websitemail01@aol.com Phone: + 212-691-0391//
//Witches Shadow Man skirt, 1983. Malcolm McLaren, Vivienne Westwood and Richard Hambleton. This image (c) www.paulgormanis.com//
An under-acknowledged art world connection forged by Malcolm McLaren during his fashion design partnership with Vivienne Westwood was to the godfather of street art, conceptual artist Richard Hambleton.
During his forays in New York in the early 80s, McLaren was struck by Hambleton’s eerie representations of The Shadow Man figure; there was one on a wall in Bethune Street in the West Village, near the studio of McLaren’s photographer friend and ally Bob Gruen.
//Front cover, Dances Of The World’s Peoples, Vol 3, Folkways Records, 1958. Design: W. Johnson, printed on paper glued to cardboard sleeve.//
//Front of four-page song and information sheet utilising W.Johnson’s design, paper, 1958//
//Invitation card to Paris show of McLaren and Westwood’s Nostalgia Of Mud collection, March 1982. Design: Nick Egan. Courtesy Malcolm McLaren Estate//
The idea is to show in clothes and music that, in the post-industrial age, the roots of our culture lie in primitive societies.
Malcolm McLaren on Nostalgia Of Mud and Duck Rock, 1983
Thanks to Hiroshi Fujiwara for tipping the wink over one of the sources of visual inspiration fed by Malcolm McLaren into the concepts unified by his solo album Duck Rock, the central London clothing store Nostalgia Of Mud and the fashion collections he designed with Vivienne Westwood in 1982-3.
//Witchdoctor figure from W. Johnson’s design//
//Figure recast by McLaren and Westwood with Keith Haring adornments on cotton top from Witches collection, 1983. From private collection//
One of the cues for Duck Rock’s investigations into music from all over the world was the series of recordings by enthnological music archivists Ronnie and Stu Lipner released on Folkways Records in the late 50s under the banner Dances Of The World’s Peoples. And McLaren’s appropriation of the naive cover art by W. Johnson – in particular the striking witchdoctor figure – found new form in design collaborations with Westwood, graphics supremo Nick Egan and artist Keith Haring.
//Nostalgia Of Mud pattern show card, 1982. Courtesy Malcolm McLaren Estate//
McLaren’s brilliance at fusing disparate elements into culture-defining and dazzling artworks is being celebrated next week with the exhibition Let It Rock: The Look Of Music The Sound Of Fashion at the Crystal Hall in Copenhagen’s Bella Center.
The show – which runs from August 3-6 during Copenhagen Fashion Week – will incorporate hundreds of exhibits, many rare and never previously shown to the public, including clothing and objects featured here such as the Witches top, the show cards and original copies of the Dances Of The World’s Peoples LP and catalogue.
Read more here.
//The Malcolm. Photo (c) Jean Vong.//
This is The Malcolm, the award designed by Marc Newson for the visual arts bienniale Performa; the inaugural award was presented a couple of weeks back by Greil Marcus and Lou Reed to the Icelandic artist Ragnar Kjartansson for his 12-hour piece Bliss.
Honouring the late Malcolm McLaren, The Malcolm goes to artists under 40 who demonstrate “the most innovative and thought-provoking performance” during Performa’s three-week bienniale.
| Paul Gorman is a writer. This is his blog: art, books, conversation, cults, dancing, design, encounters, environments, events, film, galleries, groups, individuals, invitations, magazines, music, opinions, performance, photography, places, press, privacy, spaces, style, thoughts + views. |
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