The booklet we have produced to accompany new Somerset House exhibition PRINT! Tearing It Up is in keeping with the show’s fluoro punk aesthetic and DIY theme.
//PRINT! is staged in Somerset House’s Terrace Rooms; the exhibition’s graphic identity was created by Scott King. His distinctive fluoro pink logo is on the lightbox at the far end of room 1. Photo: Doug Peters//
//With my wife and PRINT! contributor Caz Facey, rock legend Jimmy Page and poet Scarlett Sabet at the private view this week//
//Each room has wall grids divided into subjects – this, the main wall in room 1, presents magazines expressing dissent and protest. Photo: Doug Peters//
//In the courtyard at Somerset House; socks courtesy Pavement Licker//
//Private view attendees Duggie Fields and Jarvis Cocker. Photo: Martin Green//
PRINT! Tearing It Up – the exhibition at central London’s Somerset House I have organised with the SH Trust’s senior curator Claire Catterall – is now open.
The new issue of international interiors magazine apartamento includes my feature about British artist Duggie Fields and his extraordinary mansion flat in inner west London neighbourhood Earl’s Court.
//Large renditions of photographs from the 1977 session in Tokyo with Masayoshi Sukita for the “Heroes” sleeve. Photo courtesy Sonos//
To mark the opening earlier this month of the new Sonos store in Berlin – the home leisure company’s first retail presence in continental Europe – I was invited to organise a display of photography relevant to David Bowie’s creative connections to the city.
//ECC’s sign on the facade of the Time Out offices at 374 Gray’s Inn Road, King’s Cross, London, autumn 1970. Photos courtesy Electric Colour Company/Andrew Greaves//
Recent encounters with Time Out founder Tony Elliott have brought to mind the audacious sign created by design collective Electric Colour Company to mark the magazine’s move into premises at 374 Gray’s Inn Road.
//Catalogue cover featuring detail of Tête Cultivée, Nicola L, 1970//
As befits a sorely-missed man of singular style and taste, the catalogue for the forthcoming sale Furniture Pimp: The Collection Of Jim Walrod is an absolute treat.
//Right: Walrod at home photographed by Collin Hughes; Left: works featured in the forthcoming sale//
//Malcolm McLaren with New York scenester Eileen Polk at New York nightclub Hurrah, October 1978. Photo: © Joe Stevens. No reproduction without permission//
Today marks eight years since the death of visual artist, designer and cultural provocateur Malcolm McLaren.
His friend Joe Stevens sent me this photo a couple of years back. It was taken during the period when McLaren – wearing one of the tartan bondage suits he designed with Vivienne Westwood – was mounting the defence of Sid Vicious, then on the murder charge for having killed Nancy Spungen.
This extraordinary episode from an extraordinary life – during which time McLaren encountered the likes of Donald Trump’s vile mentor Roy Cohn, the legendary radical lawyer William Kunstler and criminal defence attorney F. Lee Bailey (the latter by way of an introduction by Allen Ginsberg) – will of course be covered in my book Malcolm McLaren: The Biography, which is to be published by Constable & Robinson next year.
//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.
//World Hotel Room from The Brothel Series, Caroline Coon 1998, Oil on canvas, 122 x 153cm. Photo: Richard Holttum//
“For this solo exhibition to happen in the same year that we celebrate 100 years since some women were legally considered human and therefore entitled to vote is deeply significant for me. The formation of my feminist project always meant that I needed to be a figurative painter – this made me, right from the start as an art student in the late 1960s, a ‘girl’ outlaw in the then Greenbergian-ruled art establishment. I am what Linda Nochlin called, in her 1973 essay, a Realist Criminal.” Caroline Coon, 2018
Liverpool’s The Gallery is staging yet another must-see exhibition: the first solo show by painter, writer, thinker and countercultural figurehead Caroline Coon.
Entitled Caroline Coon: The Great Offender, it is curated by Martin Green and James Lawler, who have selected 29 of Coon’s works and are mounting the show as part of their ‘Perpetual Provocateurs’ 2018 season.
//Exhibition flyer incorporating One In The Eye (Mobile Glory Hole), David Harrison, 2012//
“Harrison embraces age-old symbols and fanciful myth, irrational beliefs and exuberant sexuality to name just a few in order to speak vividly about our own time and provide a different perspective on the disciplines of painting and sculpture”
Fuck Me is the title of the new show by great British artist David Harrison at Lungley at east London’s The Haggerston.
| 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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