//Relation of Aesthetic Choice to Life Activity (Function) of the Subject, Billy Apple, 1961-2. From Tate Britain//
I’m indebted to Tate Liverpool curator Darren Pih for the connection between a photograph which appeared in ARK 33 – the edition of the Royal College Of Art magazine which was the subject of my last post – and a contemporaneous work by the artist Billy Apple.
//Dinah Adams and friend, Eastbourne, Sussex, summer 1971. Photo: David Parkinson. No reproduction without permission//
//From Men Only, Vol 36, No 8, 1971//
Thanks to artist Paul Kindersley for alerting me to the fact that images from an audacious photo-shoot by the late photographer David Parkinson were featured in an early 70s issue of Paul Raymond’s adult magazine Men Only.
//Front cover of booklet for the Linz show features this 1973 Karl Stoecker portrait of Brian Eno in Roxy Music stage costume designed by Carol McNicholl//
Glam! The Performance Of Style – the exhibition which locates early 70s glam rock in the context of fine art and the interplay between “high” and mass culture – is opening at the Lentos Kunstmuseum in Linz, Austria later this month.
I was a consultant to Glam!’s curator Darren Pih of Tate Liverpool, where the show opened at the beginning of this year before moving on to Frankfurt’s Schirn Kunsthalle for the summer.
//The Let It Rock guitar mirror as exhibited at Glam! in Frankfurt. Photo: Andrei Luca//
//Kenny putting on make up, Nan Goldin, Boston, 1973 //
Perhaps it is a matter of displacement – that slippery moment when art becomes commerce, shifting back again into the cultural arena as another kind of commodity. The fact is, even today, few among us are willing to acknowledge that certain mass culture forms and practices may comprise the most significant ‘culture’ of our time, precisely because of their ‘popular’ characteristics.
Marcia Tucker and William Olander, New Museum Of Contemporary Art, 1988.
In the 25 years since Tucker and Olander made this statement, the displacement they sought to define has become, if anything, more slippery.
For this reason alone, Liverpool Tate curator Darren Pih must be applauded for negotiating such tricky waters with Glam! The Performance Of Style, the exhibition he has curated in an attempt to locate the early 70s glam-rock phenomenon in the context not just of a certain area of artistic practice of the period but also more broadly the interplay between “high” and mass culture.
//Fashion spread featuring Mr Freedom and Ossie Clark designs, Nova, May 1970 //
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