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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
Andy Woortman, 2015 Index 1. at the End of Art Everyone
ANDY WOORTMAN, 2015 INDEX 1. AT THE END OF ART EVERYONE IS AN ARTIST……page 4 2a. ATTITUDE AS METHOD – a business model……page 6 2b. NOT AN ARTIST / NOT MAKING ART……page 8 2c. CHOOSING NOT TO CHOOSE……page 9 2d. NON ARTISTS VS. PUBLIC OPINION……page 10 3. CONCLUSION……page 13 4. APPENDIX Transcript and stills from the video HOW TO BECOME A NON ARTIST by Ane Hjort Guttu, 2007……page 14 BIBLIOGRAPHY……page 27 1 “Art or the artist is per definition pretentious. It pretends to be something else than what it appears to be. So literally that means it’s pretentious.” In conversation with a friend about my thesis, Barcelona, 2014 INTRODUCTION The first time I saw Martin Creed was in a Youtube video of a lecture that he gave in the Camberwell College of Arts in 2014. He seemed to me someone who just does things randomly; not really knowing why and what for. Creed, for example, stated not having the intention or ambition of making art. While I was watching this video, I opened a second tab and found his profile on Wikipedia. I found an impressive list of past shows and won prizes, amongst which the Turner prize in 2001. As I was reading, I started to doubt my first impression. The image of a man who seemed unsure, insecure and doubtful started to turn into a well-considered concept: an artist that deliberately chooses not to choose. I stumbled upon the following in The Guardian: Creed makes me think of a really sociable philosopher. -
Inside January/February 2018 Volume 17, Number 1
JANUARY/FEBRUARY 2018 VOLUME 17, NUMBER 1 INSIDE Shanghai: Its Galleries and Museums Conversations with Artists in the KADIST Collection Artist Features: Pak Sheung Chen, Tsang Kin Wah, Zhu Fadong, Zhang Huan US$12.00 NT$350.00 PRINTED IN TAIWAN 1 Vol. 17 No. 1 8 VOLUME 17, NUMBER 1, JANUARY/FEBRUARY 2018 CONTENTS 30 4 Editor’s Note 6 Contributors 8 Contemporary Art and the Contemporary Art Museum: Shanghai and Its Biennale John Clark 30 (Inter)Dependency: Privately Owned Art Museums in State-Sponsored West Bund 46 Xing Zhao 46 Out of Sight: Conversations with Artists in the KADIST Collection Biljana Ciric 66 Pak Sheung Chuen: Art as a Personal Journey in Times of Political Upheaval Julia Gwendolyn Schneider 80 Entangled Histories: Unraveling the Work of Tsang Kin-Wah 66 Helen Wong 85 Zhu Fadong: Why Art Is Powerless to Make Social Change Denisa Tomkova 97 Public Displays of Affliction: On Zhang Huan’s 12m2 Chan Shing Kwan 108 Chinese Name Index 80 97 Cover: In memoriam, Geng Jianyi, 1962–2017. Courtesy of Zheng Shengtian. Editor’s Note YISHU: Journal of Contemporary Chinese Art PRESIDENT Katy Hsiu-chih Chien LEGAL COUNSEL Infoshare Tech Law Office, Mann C. C. Liu Mainland China’s museum and gallery scene FOUNDING EDITOR Ken Lum has evolved rapidly over the past decade. Yishu EDITOR-IN-CHIEF Keith Wallace MANAGING EDITOR Zheng Shengtian 84 opens with two essays examining Shanghai, EDITORS Julie Grundvig a city that is taking strategic approaches Kate Steinmann in its recognition of culture as an essential Chunyee Li CIRCULATION MANAGER Larisa Broyde component of a vibrant urban experience. -
Shock Value: the COLLECTOR AS PROVOCATEUR?
Shock Value: THE COLLECTOR AS PROVOCATEUR? BY REENA JANA SHOCK VALUE: enough to prompt San Francisco Chronicle art critic Kenneth Baker to state, “I THE COLLECTOR AS PROVOCATEUR? don’t know another private collection as heavy on ‘shock art’ as Logan’s is.” When asked why his tastes veer toward the blatantly gory or overtly sexual, Logan doesn’t attempt to deny that he’s interested in shock art. But he does use predictably general terms to “defend” his collection, as if aware that such a collecting strategy may need a defense. “I have always sought out art that faces contemporary issues,” he says. “The nature of contemporary art is that it isn’t necessarily pretty.” In other words, collecting habits like Logan’s reflect the old idea of le bourgeoisie needing a little épatement. Logan likes to draw a line between his tastes and what he believes are those of the status quo. “The majority of people in general like to see pretty things when they think of what art should be. But I believe there is a better dialogue when work is unpretty,” he says. “To my mind, art doesn’t fulfill its function unless there’s ent Logan is burly, clean-cut a dialogue started.” 82 and grey-haired—the farthestK thing you could imagine from a gold-chain- Indeed, if shock art can be defined, it’s art that produces a visceral, 83 wearing sleazeball or a death-obsessed goth. In fact, the 57-year-old usually often unpleasant, reaction, a reaction that prompts people to talk, even if at sports a preppy coat and tie. -
Art, Tapu and Shared Space in Contemporary Aotearoa New Zealand
So It Vanished: Art, Tapu and Shared Space in Contemporary Aotearoa New Zealand Jonathan Barrett, Open Polytechnic, New Zealand In February 2012, The Dowse Art Museum (‘The Dowse’) in Lower Hutt, New Zealand cancelled an exhibition by internationally renowned Mexican artist Teresa Margolles on the ostensible grounds of culture offence. This article analyses the cancellation of Margolles’s So It Vanishes and situates it in the context of previous conflicts between Indigenous beliefs and exhibitions of transgressive art. Background information is firstly provided and Margolles’s work is sketched and compared with other taboo- breaking works of transgressive art. The Māori concept of tapu is then outlined.1 A discussion follows on the incompatibility of So It Vanishes with tapu, along with a review of other New Zealand exhibitions that have proved inconsistent with Indigenous values. Conclusions are then drawn about sharing exhibition space in contemporary Aotearoa NewZealand. Background The Dowse The Dowse is situated in Lower Hutt,2 which has traditionally been a dormitory suburb for Wellington, but today is technically a city with an increasingly cosmopolitan population. In 2006, more than one fifth of residents were born outside New Zealand 1 In this article, the words ‘taboo,’ ‘tabu’ and ‘tapu’ refer to Polynesian beliefs. Taboo, in roman font, refers to the Western adoption of the concept. The distinction lies between (literal) taboo and (figurative) taboo, the first and second definitions of ‘taboo’ provided in the Oxford English Dictionary (see Simpson & Weiner 1989: 521). 2 The Lower Hutt council has adopted the name ‘Hutt City,’ but this self-designation is not recognized by either the New Zealand Geographical Board or central government in the Local Government Act 2002. -
Proceedings of the European Society for Aesthetics Volume 6, 2014
Proceedings of the European Society for Aesthetics Volume 6, 2014 Edited by Fabian Dorsch and Dan-Eugen Ratiu Published by the European Society for Aesthetics esa Proceedings of the European Society of Aesthetics Founded in 2009 by Fabian Dorsch Internet: http://proceedings.eurosa.org Email: [email protected] ISSN: 1664 – 5278 Editors Fabian Dorsch (University of Fribourg) Dan-Eugen Ratiu (Babes-Bolyai University of Cluj-Napoca) Editorial Board Zsolt Bátori (Budapest University of Technology and Economics) Alessandro Bertinetto (University of Udine) Matilde Carrasco Barranco (University of Murcia) Josef Früchtl (University of Amsterdam) Robert Hopkins (University of Sheffield & New York University) Catrin Misselhorn (University of Stuttgart) Kalle Puolakka (University of Helsinki) Isabelle Rieusset-Lemarié (University of Paris 1 Panthéon-Sorbonne) John Zeimbekis (University of Patras) Publisher The European Society for Aesthetics Department of Philosophy University of Fribourg Avenue de l'Europe 20 1700 Fribourg Switzerland Internet: http://www.eurosa.org Email: [email protected] Proceedings of the European Society for Aesthetics Volume 6, 2014 Edited by Fabian Dorsch and Dan-Eugen Ratiu Table of Contents Christian G. Allesch An Early Concept of ‘Psychological Aesthetics’ in the ‘Age of Aesthetics’ 1-12 Martine Berenpas The Monstrous Nature of Art — Levinas on Art, Time and Irresponsibility 13-23 Alicia Bermejo Salar Is Moderate Intentionalism Necessary? 24-36 Nuno Crespo Forgetting Architecture — Investigations into the Poetic Experience of Architecture 37-51 Alexandre Declos The Aesthetic and Cognitive Value of Surprise 52-69 Thomas Dworschak What We Do When We Ask What Music Is 70-82 Clodagh Emoe Inaesthetics — Re-configuring Aesthetics for Contemporary Art 83-113 Noel Fitzpatrick Symbolic Misery and Aesthetics — Bernard Stiegler 114-128 iii Proceedings of the European Society for Aesthetics, vol. -
Of 3 KQEK DVD Review: Wendy O. Williams and the Plasmatics
KQEK DVD Review: Wendy O. Williams and the Plasmatics -Ten Years of Revolutionary Rock ‘n' Roll (20... Page 1 of 3 _______ DVD: Wendy O. Williams and the Plasmatics -Ten Years of Revolutionary Rock ‘n' Roll (200 Review Rating: Very Good ... Label/Studio: MVD Visual Catalog #: DR-4522 .. Region: 1 (NTSC) Released: November 21, 2006 Genre: Documentary / Concert Synopsis: Exhaustive chronicle of the legendary punk/heavy metal band and its unforgettable singer. Directed by: Randy Shooter Screenplay by: None Music by: Wendy O. Williams & the Plasmatics Produced by: Randy Shooter Cast: Wendy O. Williams, Wes Beech, Dante Bonutto, Jim Cherry, Ray Callahan, Malcolm Dome, Brian Drago, Chris Knowles, Jim Kramer, Krusher, Hilly Krystal, George Pierson, Greg Smith, Maria Raha, T.C. Tolliver, and Doug Smith. Film Length: 119 mins. Process/Ratio: 1.33:1 Colour Anamorphic DVD: No Languages: English Stereo 2.0 Subtitles: http://www.kqek.com/dvd_reviews/v2z/3175_Wow.htm 1/31/2007 KQEK DVD Review: Wendy O. Williams and the Plasmatics -Ten Years of Revolutionary Rock ‘n' Roll (20... Page 2 of 3 Special Features : 2 Music Videos: “The Damned” (4:36) + “It's My Life” (4:09) / 9 Concert Clips: “Butcher Baby” (3:40) + “Pig is a Pig” (4:40) + “Sex Junkie” (3:10) + “Living Dead” (3:51) + “Masterplan” (4:28) + “Party” (3:21) + “Goin' Wild” (4:10) + “Fuck ‘n' Roll”(6:47) + “Reform School Girls” (3:25) / Bootleg Concert Footage: “Pieces form Harpo's”(20:09) with 7 chapter indexes / 4 Outtakes (:08) + (2:44) + (:48) + (1:36) Comments : One of rock's most striking and seemingly anarchic pioneers finally gets her due in this new documentary from director Randy Shooter, packing a wealth of vital archival material plus new interviews from several former members of the Plasmatics, the punk/metal band that lasted from 1978-1988, as originally conceptualized by producer/showman Rod Swenson. -
Plasmatics New Hope for the Wretched / Metal Priestess Mp3, Flac, Wma
Plasmatics New Hope For The Wretched / Metal Priestess mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: New Hope For The Wretched / Metal Priestess Country: US Released: 2001 Style: Punk, Heavy Metal MP3 version RAR size: 1133 mb FLAC version RAR size: 1432 mb WMA version RAR size: 1407 mb Rating: 4.6 Votes: 374 Other Formats: ASF DTS DMF DTS AAC XM MIDI Tracklist Hide Credits New Hope 1 Tight Black Pants 1:47 Monkey Suit 2 3:27 Percussion – Jimmy Miller 3 Living Dead 1:34 4 Test Tube Babies 1:54 5 Won't You 2:28 6 Concrete Shoes 2:56 7 Squirm (Live) 3:29 8 Want You Baby 1:56 Dreamlover 9 5:43 Saxophone [Sax] – Wendy* 10 Sometimes I 3:58 11 Corruption 2:40 12 Butcher Baby 3:32 Bonus 13 Tight Black Pants (Live) 1:56 14 Living Dead (Live) 3:52 15 Sometimes I (Live) 3:55 Metal Priestess 16 Lunacy 5:08 17 Doom Song 5:22 18 Sex Junkie (Live) 3:08 19 Black Leather Monster 3:41 20 12 Noon 3:30 21 Masterplan (Live) 4:48 Companies, etc. Phonographic Copyright (p) – Plasmatics Media, Inc. Copyright (c) – Plasmatics Media, Inc. Recorded At – The Schoolhouse Mastered At – Sterling Sound Credits Bass Guitar – Chris "Junior" Romanelli* (tracks: 16, 17, 19, 20), Jean Beauvoir (tracks: 1 to 15, 18, 21) Design [Art Design Metal Priestess] – Butch Star Drums – Joey Reese (tracks: 16, 17, 19, 20), Stu Deutsch (tracks: 1 to 15), Tony Petri (tracks: 18, 21) Engineer – Eddie Ciletti (tracks: 18, 21), Trevor Halsey* (tracks: 1 to 15) Keyboards – Jean Beauvoir (tracks: 18, 21), Wes Beech (tracks: 16, 17, 19, 20) Lead Guitar – Richie Stotts (tracks: -
What Defines a Good Work of Art Within the Contemporary Art World? Theories, Practices and Institutions
WHAT DEFINES A GOOD WORK OF ART WITHIN THE CONTEMPORARY ART WORLD? THEORIES, PRACTICES AND INSTITUTIONS by DELIA VEKONY-HARPER submitted in accordance with the requirements for the degree of MASTER OF ARTS in the subject of ART HISTORY at the UNIVERSITY OF SOUTH AFRICA Supervisor: Dr EL Basson June 2010 I declare that ‘What defines a good work of art within the contemporary art world? Theories, practices and institutions’ is my own work and that all the sources that I have used or quoted have been indicated and acknowledged by means of complete references. Delia Vekony 11/03/2010 What defines a good work of art within the contemporary art world? Theories, practices and institutions By Ms Delia Vekony-Harper Master of Arts Art history Supervisor: Dr EL Basson June 2010 SUMMARY The dissertation explores how quality-judgments on works of art are created within the contemporary art world. The research starts with the examination of modernist art theories supported by the museum, and continues with the exploration of the impact of the art market on quality-judgments. Although the art market had already distorted the idea of quality, further contradictions and difficulties have risen within judgment-making after the 1960s due to the dematerialisation of the work of art. Art criticism should have been able to deal with this complexity, but it is demonstrated that art criticism is a subjective field and even if there is a universal theory on quality, it often fails when applied to the particular work of art. Throughout the dissertation it is demonstrated that although ‘good art’ is a subjective, power- and discourse- dependent concept, all art professionals seek something that is an inherent quality of the artwork. -
Punk · Film RARE PERIODICALS RARE
We specialize in RARE JOURNALS, PERIODICALS and MAGAZINES Please ask for our Catalogues and come to visit us at: rare PERIODIcAlS http://antiq.benjamins.com music · pop · beat · PUNk · fIlM RARE PERIODICALS Search from our Website for Unusual, Rare, Obscure - complete sets and special issues of journals, in the best possible condition. Avant Garde Art Documentation Concrete Art Fluxus Visual Poetry Small Press Publications Little Magazines Artist Periodicals De-Luxe editions CAT. Beat Periodicals 296 Underground and Counterculture and much more Catalogue No. 296 (2016) JOHN BENJAMINS ANTIQUARIAT Visiting address: Klaprozenweg 75G · 1033 NN Amsterdam · The Netherlands Postal address: P.O. BOX 36224 · 1020 ME Amsterdam · The Netherlands tel +31 20 630 4747 · fax +31 20 673 9773 · [email protected] JOHN BENJAMINS ANTIQUARIAT B.V. AMSTERDAM cat.296.cover.indd 1 05/10/2016 12:39:06 antiquarian PERIODIcAlS MUSIC · POP · BEAT · PUNK · FILM Cover illustrations: DOWN BEAT ROLLING STONE [#19111] page 13 [#18885] page 62 BOSTON ROCK FLIPSIDE [#18939] page 7 [#18941] page 18 MAXIMUM ROCKNROLL HEAVEN [#16254] page 36 [#18606] page 24 Conditions of sale see inside back-cover Catalogue No. 296 (2016) JOHN BENJAMINS ANTIQUARIAT B.V. AMSTERDAM 111111111111111 [#18466] DE L’AME POUR L’AME. The Patti Smith Fan Club Journal Numbers 5 and 6 (out of 8 published). October 1977 [With Related Ephemera]. - July 1978. [Richmond Center, WI]: (The Patti Smith Fan Club), (1978). Both first editions. 4to., 28x21,5 cm. side-stapled wraps. Photo-offset duplicated. Both fine, in original mailing envelopes (both opened a bit rough but otherwise good condition). EUR 1,200.00 Fanzine published in Wisconsin by Nanalee Berry with help from Patti’s mom Beverly. -
The Legal Gaze and Women's Bodies
252 Columbia Journal of Gender and Law 32.2 “WE JUST LOOKED AT THEM AS ORDINARY PEOPLE LIKE WE WERE:” THE LEGAL GAZE AND WOMEN’S BODIES YXTA MAYA MURRAY* Abstract This Article analyzes the struggles of two female musicians who became caught up in the criminal justice system because they revealed their bodies. Using archival research and personal interviews, I tell the story of punk rocker Wendy O. Williams’ 1981-1984 obscenity and police brutality court battles. I also relay the life of Lorien Bourne, a disabled and lesbian rock-n-roller charged with disorderly conduct in Bowling Green, Ohio, in 2006. I examine how legal actors, including courts and jurors, viewed Williams and Bourne using classist, ableist, sexist, and homophobic optics. In so doing, I extend my previous work on legal “gazes,” or what I have called the legal practice of “peering.” I end the Article by looking to the women’s art and lives as correctives to oppressive manners of legal seeing. PRELUDE: TWO TALES OF FEMALE NUDITY AND THE COURTS “The prosecutors are the guys doing this for money. These guys are the real whores,”1 Mohawked and leather-clad2 Plasmatics frontwoman Wendy O. Williams shouted to jurors in the Cleveland Municipal Court3 in April 1981. They had just rendered a not-guilty © 2017 Murray. This is an open access article distributed under the terms of the Creative Commons Attribution License, which permits the user to copy, distribute, and transmit the work provided that the original author(s) and source are credited. * Professor, Loyola Law School. -
Lemmy Kilmister Was Born in Stoke-On-Trent
Lemmy Kilmister was born in Stoke-on-Trent. Having been a member of the Rocking Vicars, Opal Butterflies and Hawkwind, Lemmy formed his own band, Motörhead. The band recently celebrated their twenty-fifth anniversary in the business. Lemmy currently lives in Los Angeles, just a short walk away from the Rainbow, the oldest rock ’n’ roll bar in Hollywood. Since 1987, Janiss Garza has been writing about very loud rock and alternative music. From 1989 to1996 she was senior editor at RIP, at the time the World’s premier hard music magazine. She has also written for Los Angeles Times, Entertainment Weekly, and New York Times, Los Angeles. ‘From heaving burning caravans into lakes at 1970s Finnish festivals to passing out in Stafford after three consecutive blowjobs, the Motörhead man proves a mean raconteur as he gabbles through his addled heavy metal career résumé’ Guardian ‘As a rock autobiography, White Line Fever is a keeper’ Big Issue ‘White Line Fever really is the ultimate rock & roll autobiography . Turn it up to 11 and read on!’ Skin Deep Magazine First published in Great Britain by Simon & Schuster UK Ltd, 2002 This edition first published by Pocket, 2003 An imprint of Simon & Schuster UK Ltd A Viacom Company Copyright © Ian Kilmister and Janiss Garza, 2002 This book is copyright under the Berne Convention. No reproduction without permission. All rights reserved. The right of Ian Kilmister to be identified as author of this work has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act, 1988. Simon & Schuster UK Ltd Africa House 64-78 Kingsway London WC2B 6AH www.simonsays.co.uk Simon & Schuster Australia Sydney A CIP catalogue record for this book is available from British Library Paperback ISBN 0-671-03331-X eBook ISBN 978-1-47111-271-3 Typeset by M Rules Printed and bound in Great Britain by Cox & W yman Ltd, Reading, Berks PICTURE CREDITS The publishers have used their best endeavours to contact all copyright holders.