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After punk's arrival in 1976, many art students in the northern
English city of Leeds traded their paintbrushes for guitars and
synthesizers. In bands ranging from Gang of Four, Soft Cell, and
Delta 5 to the Mekons, Scritti Politti, and Fad Gadget, these
artists-turned-musicians challenged the limits of what was deemed
possible in rock and pop music. Taking avant-garde ideas to the
record-buying public, they created Situationist antirock and art
punk, penned deconstructed pop ditties about Jacques Derrida, and
took the aesthetics of collage and shock to dark, brooding
electro-dance music. In No Machos or Pop Stars Gavin Butt tells the
fascinating story of the post-punk scene in Leeds, showing how
England's state-funded education policy brought together art
students from different social classes to create a fertile ground
for musical experimentation. Drawing on extensive interviews with
band members, their associates, and teachers, Butt details the
groups who wanted to dismantle both art world and music industry
hierarchies by making it possible to dance to their art. Their
stories reveal the subversive influence of art school in a regional
music scene of lasting international significance.
After punk's arrival in 1976, many art students in the northern
English city of Leeds traded their paintbrushes for guitars and
synthesizers. In bands ranging from Gang of Four, Soft Cell, and
Delta 5 to the Mekons, Scritti Politti, and Fad Gadget, these
artists-turned-musicians challenged the limits of what was deemed
possible in rock and pop music. Taking avant-garde ideas to the
record-buying public, they created Situationist antirock and art
punk, penned deconstructed pop ditties about Jacques Derrida, and
took the aesthetics of collage and shock to dark, brooding
electro-dance music. In No Machos or Pop Stars Gavin Butt tells the
fascinating story of the post-punk scene in Leeds, showing how
England's state-funded education policy brought together art
students from different social classes to create a fertile ground
for musical experimentation. Drawing on extensive interviews with
band members, their associates, and teachers, Butt details the
groups who wanted to dismantle both art world and music industry
hierarchies by making it possible to dance to their art. Their
stories reveal the subversive influence of art school in a regional
music scene of lasting international significance.
The conventional idea of the commons-a resource managed by the
community that uses it-might appear anachronistic as global
capitalism attempts to privatize and commodify social life. Against
these trends, contemporary queer energies have been directed toward
commons-forming initiatives from activist provision of social
services to the maintenance of networks around queer art, protest,
public sex, and bar cultures that sustain queer lives otherwise
marginalized by heteronormative society and mainstream LGBTQ
politics. This issue forges a connection between the common and the
queer, asking how the category "queer" might open up a discourse
that has emerged as one of the most important challenges to
contemporary neoliberalization at both the theoretical and
practical level. Contributors look to radical networks of care,
sex, and activism present within diverse queer communities
including HIV/AIDS organizing, the Wages for Housework movement,
New York's Clit Club community, and trans/queer collectives in San
Francisco. The issue also includes a dossier of shorter
contributions that offer speculative provocations about the
radicalism of queer commonality across time and space, from Gezi
Park uprisings in Turkey to future visions of collectivity outside
of the internet. Contributors Arlen Austin, Zach Blas, Gavin Butt,
Beth Capper, Ashon Crawley, Amalle Dublon, Macarena Gomez-Barris,
Christina Hanhardt, Diarmuid Hester, Nadja Millner-Larsen, Jose
Esteban Munoz, Cenk Ozbay, Evren Savci, Eric Stanley
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Post-Punk Then and Now (Paperback)
Gavin Butt, Mark Fisher; Sue Clayton, Kodwo Eshun, Green Gartside
1
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R345
R282
Discovery Miles 2 820
Save R63 (18%)
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Ships in 9 - 15 working days
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What were the conditions of possibility for art and music-making
before the era of neoliberal capitalism? What role did punk play in
turning artists to experiment with popular music in the late 1970s
and early 1980s? And why does the art and music of these times seem
so newly pertinent to our political present, despite the seeming
remoteness of its historical moment? Focusing upon the production
of post-punk art, film, music, and publishing, this book offers new
perspectives on an overlooked period ofcultural activity, and
probes the lessons that might be learnt from history for artists
and musicians working under 21st century conditions of austerity.
In the decades preceding the Stonewall riots-in the wake of the
1948 publication of Alfred Kinsey's controversial report on male
sexuality and in the midst of a cold war culture of suspicion and
paranoia-discussions of homosexuality within the New York art world
necessarily circulated via gossip and rumor. Between You and Me
explores this informal, everyday talk and how it shaped artists'
lives, their work, and its reception. Revealing the "trivial" and
"unserious" aspects of the postwar art scene as key to
understanding queer subjectivity, Gavin Butt argues for a richer,
more expansive concept of historical evidence, one that supplements
the verifiable facts of traditional historical narrative with the
gossipy fictions of sexual curiosity.Focusing on the period from
1948 to 1963, Butt draws on the accusations and denials of
homosexuality that appeared in the popular press, on early
homophile publications such as One and the Mattachine Review, and
on biographies, autobiographies, and interviews. In a stunning
exposition of Larry Rivers's work, he shows how Rivers incorporated
gossip into his paintings, just as his friend and lover Frank
O'Hara worked it into his poetry. He describes how the stories
about Andy Warhol being too "swish" to be taken seriously as an
artist changed following his breakthrough success, reconstructing
him as an asexual dandy. Butt also speculates on the meanings
surrounding a MoMA curator's refusal in 1958 to buy Jasper Johns's
Target with Plaster Casts on the grounds that it was too scandalous
for the museum to acquire. Between You and Me sheds new light on a
pivotal moment in American cultural production as it signals new
directions for art history.
In the decades preceding the Stonewall riots-in the wake of the
1948 publication of Alfred Kinsey's controversial report on male
sexuality and in the midst of a cold war culture of suspicion and
paranoia-discussions of homosexuality within the New York art world
necessarily circulated via gossip and rumor. Between You and Me
explores this informal, everyday talk and how it shaped artists'
lives, their work, and its reception. Revealing the "trivial" and
"unserious" aspects of the postwar art scene as key to
understanding queer subjectivity, Gavin Butt argues for a richer,
more expansive concept of historical evidence, one that supplements
the verifiable facts of traditional historical narrative with the
gossipy fictions of sexual curiosity.Focusing on the period from
1948 to 1963, Butt draws on the accusations and denials of
homosexuality that appeared in the popular press, on early
homophile publications such as One and the Mattachine Review, and
on biographies, autobiographies, and interviews. In a stunning
exposition of Larry Rivers's work, he shows how Rivers incorporated
gossip into his paintings, just as his friend and lover Frank
O'Hara worked it into his poetry. He describes how the stories
about Andy Warhol being too "swish" to be taken seriously as an
artist changed following his breakthrough success, reconstructing
him as an asexual dandy. Butt also speculates on the meanings
surrounding a MoMA curator's refusal in 1958 to buy Jasper Johns's
Target with Plaster Casts on the grounds that it was too scandalous
for the museum to acquire. Between You and Me sheds new light on a
pivotal moment in American cultural production as it signals new
directions for art history.
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