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ISBN 9783940748188 TRADE
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| | | No One is Innocent: PunkArt-Style-RevoltText by Thomas Miessgang.
Punk often seems best understood as an entirely historical term, signaling a stance or mood whose energies infused the arts of the 1970s across the board; as last year's popular ICA London show Secret Public demonstrated, cross-genre approaches to the period are increasingly adopted. Viewing Punk thus, No One is Innocent (the title comes from the Sex Pistols' fifth single, post Rotten and Vicious) orients its unique take on this moment around three cities in which it flourished well--New York, Berlin and London--and presents the works of artists alongside album covers, posters, zines and other musical ephemera. From New York, artists such as Lynda Benglis, Robert Longo, Richard Hambleton, Futura, David Wojnarowicz, Tony Oursler, Robert Mapplethorpe and Arturo Vega coalesce around the iconography of the Ramones and Patti Smith; from London, works by Leigh Bowery, COUM Transmissions (Genesis P. Orridge and Cosey Fanni Tutti), Derek Jarman and Cerith Wyn Evans are situated amid images by Linder and Jamie Reid for the Buzzcocks and the Sex Pistols; and from Berlin, Elvira Bach, Die tödliche Doris and Salomé accompany cover art by Einstürzende Neubauten. No One is Innocent offers a galvanizing concentrate of an era always relevant to our own.
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FORMAT: Paperback, 8.75 x 11 in. / 250 pgs / 200 color.
LIST PRICE: U.S. $60.00
LIST PRICE: CANADA $70
ISBN: 9783940748188
PUBLISHER: Verlag für moderne Kunst
AVAILABLE: 9/1/2008
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PUBLISHING STATUS: Out of print
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| No One is Innocent: Punk
Art-Style-Revolt Published by Verlag für moderne Kunst.
Text by Thomas Miessgang. | Punk often seems best understood as an entirely historical term, signaling a stance or mood whose energies infused the arts of the 1970s across the board; as last year's popular ICA London show Secret Public demonstrated, cross-genre approaches to the period are increasingly adopted. Viewing Punk thus, No One is Innocent (the title comes from the Sex Pistols' fifth single, post Rotten and Vicious) orients its unique take on this moment around three cities in which it flourished well--New York, Berlin and London--and presents the works of artists alongside album covers, posters, zines and other musical ephemera. From New York, artists such as Lynda Benglis, Robert Longo, Richard Hambleton, Futura, David Wojnarowicz, Tony Oursler, Robert Mapplethorpe and Arturo Vega coalesce around the iconography of the Ramones and Patti Smith; from London, works by Leigh Bowery, COUM Transmissions (Genesis P. Orridge and Cosey Fanni Tutti), Derek Jarman and Cerith Wyn Evans are situated amid images by Linder and Jamie Reid for the Buzzcocks and the Sex Pistols; and from Berlin, Elvira Bach, Die tödliche Doris and Salomé accompany cover art by Einstürzende Neubauten. No One is Innocent offers a galvanizing concentrate of an era always relevant to our own.
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