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food stuff as material

#sculpture #installation #food

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#art exhibition #feminist art

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#exhibition #feminist

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#exhibition #gemini

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#sculpture

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#warhol

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#warhol

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#Warhol

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#Warhol

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Don’t Dictate: How DIY Punk Changed Music

Defiantly anti-establishment, punk’s DIY stance shocked the music industry in the 70s, but its influence can still be felt today – as uDiscover reveals.

Published on August 1, 2016 By Tim Peacock

After the UK’s premier punks, Sex Pistols, lambasted presenter Bill Grundy during their expletive-stuffed slot on Thames TV’s Today show in December 1976, the music industry received a short – but very sharp – shock.

Daily Mirror Filth And The Fury Headline - 300The immediate fallout was far-reaching. With the press having a field day, Sex Pistols became household names overnight, and the term “punk” (previously of cult-level interest) suddenly gained widespread exposure. Petrified promoters duly cancelled most of Sex Pistols’ scheduled Anarchy UK tour dates, and, early in January ’77, a beleaguered EMI eventually dropped the band from their roster, reputedly paying £40,000 for the privilege.

Suddenly, punk appeared too hot to handle. Yet while this defiant new genre’s very existence apparently posed a threat to the music industry’s established status quo, it ultimately dissipated with a whimper, rather than a bang. Having eventually signed to Virgin Records, Sex Pistols split in disarray in January ’78; their nearest rivals, The Clash, set their sights on America; by the turn of the 80s, “punk” had been neutered and hijacked by hordes of identikit, Mohican-sporting Exploited clones.

Punk Politics: Fighting The Power, From Sex Pistols To Anti-Flag

‘Metal Box’: Lifting The Lid On Public Image Ltd’s Seminal Second Album

‘Autoamerican’: How Blondie Became ‘The Most Modern Band’ On Earth

The Beatles - Now And Then

Sniffin' Glue - Now Form A Band - 300However, one aspect of punk’s anti-establishment ideology endures to this day: its inherent DIY ethos, most often identified with the quintessential punk commandment: “This is a chord, this is another, this is another… now form a band!” Incorrectly attributed to Mark Perry’s seminal punk fanzine Sniffin’ Glue (the quote actually appeared, along with the relevant chord shapes, in the January ’77 edition of punk ’zine, Sideburns), this impassioned plea to create – and promote – music independently is always associated with 1976, yet there are pre-punk precedents. In North America, for example, Californian power-pop label Beserkley had been operating outside of the mainstream since 1973, while Cleveland’s avant-garde pioneers Pere Ubu released their landmark debut single ‘30 Seconds Over Tokyo’ on their own Hearthan label in 1975.

DIY, however, figured prominently in punk’s manifesto right from the start.

#DIY aesthetic

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WORK OF THE WEEK! Did you know that this colourful and mysterious painting by Suzanna Chan has been in our collection since the early 1990s? At the time, she was the youngest artist to enter our collection and, today, The Cabinet of Exotica continues to capture visitors’ attention!

Partially inspired by the practice of other artists, including Frida Kahlo, Sonia Boyce, and Lubaina Himid, this work is derived from Chan’s own immigrant background and how this shaped her experiences. Through its complex imagery, and combination of doll’s house and cabinet of curiosities, the artist meditates on the stereotypes ascribed to the Far East (and particularly to Asian women) by the West, as is reflected in the title. The stage-like imagery acknowledges and challenges stereotypical gender roles.

The painting also offers an unsettling mix of scenarios. While there is a repetition of the pink (perhaps restrictive) cheongsam dress in the upper storey, there is a sense of escape in the lower portion of the canvas. A sinister white male figure haunts both scenes, however; a threat which may be echoed by the hunting scene at the top. Adding to the mix, a screen at the centre of the lower part bears images of teeth and dental tools!

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The Artist-Led Archive — an artist-led initiative that began in 2006 — is home to materials relating to over 120 artist-led organisations, groups and collectives working in Ireland (North and South) from the 1970s to the present day, a period marking significant economic, social and political changes in Ireland.

The Artist-led Archive – Sustainable Activism and the Embrace of Flux will become a publication published by Durty Books Publishing House in 2023, supported by the Arts Council of Ireland, Visual Arts Project Award 2021.