HOUSES OF THE YOUNG ROMANTICS & ART OF THE ARTIST CLUB

THE YOUNG SAVING CULTURE

FROM THEIR ELDERS 1881-1981: Paris, Vienna, Düsseldorf and London

DECEMBER 2020

CATHERINE SULEIMAN | ARCHITECTURE DISSERTATION University of Edinburgh

Introduction

I The Artistic Needs of an Ideal Public...... 7

II Architecture of the Artist Club...... 10

III Spirit of the Artist Club ...... 16

IV The Artist Club as an Artist’s Resource ...... 20

V Beyond the Sanctum Sanctorum ...... 24

VI Preciousness of the Gesamtkunstwerk...... 30

VII Conclusions: A Nostalgia for the Future ..... 34

Notes Bibliography Thanks

Introduction

This study will shuttle between four of the most This study will use the term ‘ideal public’ to describe artistically prolific European cities of their age, the particular audience that these artist clubs and between a myriad of art disciplines in order to aspired to meet the needs of. This collective, in the illuminate the salient and interconnecting design words of Gustav Klimt, was a ‘Kunstlerschaft – the principles of four of Europe’s most dynamic and ideal community of those who create and those artistically productive architectural spaces: Le Chat who enjoy’.1 Similarly, Arnold Hauser, referring to Noir in Paris (1881–97), Cabaret Fledermaus in Paris from 1881–97, described the ideal public as ‘a Vienna (1907–1913), Creamcheese in Düsseldorf public entirely made up of real or potential artists, (1968–76) and Club for Heroes in London (1978– of artistic natures for whom reality is merely the 1981). Naturally this is a subject of such wealth and substratum of aesthetic experience’.2 diversity that the creation and cultural significance of each artist club could be looked at as a subject on Nonetheless, in aiming to meet the needs of their its own. However, the nuanced but distinct design ideal public, all four of these artist clubs stimulated principles that the architects of these artist clubs the production of art so sensorially evocative that adhered to in various, but often very similar ways, they each soared beyond the realms of the sanctum in the curation of spaces that were conducive to the sanctorum and out into the global stratosphere. development of modern art, deserves its own inves- While the conclusions arrived at in the course of tigation. In view of bringing to life a new appreci- this study derive from an intensive critical study of ation of the dialectics between the artistic creation these clubs, in order to prevent the hampering of of spaces, and the epochal artistic movements these the central argument – that the design and mani- spaces had the potential to engender, this study festation of artist clubs are a work of art in and of aims to further understand the art of the artist club – themselves – often important contextual consid- architecture that functioned to quench the unremit- erations, have had to be omitted. To address this, ting, artistic needs of an ‘ideal public’. the notes and bibliography suggest further books and sources that will enrich the reader’s broader cultural and historical understanding of the tempes- ‘THE IDEAL tuous cultural landscapes from which these artist COMMUNITY OF THOSE clubs sprang. WHO CREATE AND THOSE WHO ENJOY’ [ CHAPTER I ]

‘FAME, FAME, FAME, WHAT’S YOUR NAME?’

Fig 1. Drawing, Catherine Suleiman, Lord Frederic Leighton’s Fatidica, 2018. 7

To explore this idea further, it is helpful to consider the way in which Egan, along with co-founder, Steve I Strange, set about bringing together and uniting this fragmented community. With a strong vision of The artistic needs of an ideal public the people they wanted (and did not want) at Club for Heroes, their method of promoting the club night, at its conception, deserves some attention. As The central thread that ties all four artist clubs Egan recalls: together was the desire of their founders to unite a fragmented artistic community along artistically I found a printer up the street and found a picture progressive lines. These were sensitive individuals, of David Bowie with his head in his hands from the acutely aware of new and powerful sensibilities ‘Heroes’ session, obviously in confusion. And I wrote fermenting in the midst of society alongside a keen ‘Fame, Fame, Fame, What’s Your Name? A Club for acknowledgement, if not distress, that there was no Heroes. Tuesday Nights’. I didn’t put an address place for those, embodying currents of the new zeit- because we didn’t want anyone to know where it geist, ‘to congregate, strengthen and grow’. was. We wanted to personally invite you. We went to Smile, the hairdressers. I said to Keith, ‘Can you Take for example, Rusty Egan, who in 1978, at the give these to some cool people? You know who they age of twenty-one, co-founded Club for Heroes. are.’ We went to the Paul Howie shop, we went to PX. This club night, that took place at Billy’s, near We went to all of our friends’ shops and said, ‘Look, Baker Street in London, before moving to the we’re having a party. It’s 50p to get in.’8 Blitz in Covent Garden, brought together a rela- tively small group of around 100-150 art-students, Egan and Strange had an acute sense of who they shop assistants and unemployed ‘poseurs’ in a wanted to bring together and a constructive vision uniquely aesthetic environment. ‘In a room that of how to manufacture both mystique and intrigue tried to imagine the past’ with music that ‘seemed around Club for Heroes’ inaugural night so as to be to emanate from somewhere in the future’,4 Club sure of luring in ‘guests who [were] sympathetic’.9 for Heroes was a feat in its ability to inspire such a In this gifted partnership between Egan and Strange magnitude of creative production among its audi- their determination to galvanise in one space, people ence. This plethora of music, space, design, fashion, with a shared sensibility, created a new collective photography and journalism would, very rapidly, approach to the communication of artistic ideas. transcend from ‘the margins of underground culture Sharing the same attitude and passions, many of the in Britain to the global mainstream’.5 According to habitués of Club for Heroes were already familiar to Egan, what drove his desire to start his own club one another. One central protagonist, Fiona Dealey, night was a realisation that ‘there were others like recalls her surprise at ‘suddenly’ finding, at Billy’s, me, bored with punk and with nowhere to go’,6 ‘all these people [she] knew from clubs… from the which thereby suggests, that Club for Heroes was Lacy Lady, the Goldmine’.10 Another central protag- born out of his sense ‘that something was breaking onist, Steve Dagger, extends this point explaining down and something new was being born’.7 What how, upon his first entry into Billy’s, he recognised was missing however, was a space in which this new, ‘two thirds of the room… from various different clubs, embryonic zeitgeist could realise itself. parties and art-school events’.11 8

We can remark upon a similar situation in fin-de- This therefore provokes the question why, if there siècle Vienna where new artist circles, comprising were already various spaces in which like-minded of art-students, artists, writers and thinkers, chal- individuals were presently connecting with one lenging the rigid and unchanging conventions another, such as at art school events, at various of society, were already forming and fermenting other club nights or coffee houses, what needs did ‘outside the stuffy atmosphere of the Academy’,12 in these spaces not fulfil or rather, what were the Vienna’s all-important coffee-houses: founders of Le Chat Noir, Cabaret Fledermaus, Creamcheese and Club for Heroes aiming to achieve In the period around 1900 the Viennese coffee- that was different, in the manifestation of their own house was not just the hub of social life but the alternative spaces? undisputed centre of cultural activity. When a group of avant-garde artists decided to form This dissertation will regard Le Chat Noir, Cabaret themselves into an association in 1876, they called Fledermaus, Creamcheese and Club for Heroes as themselves the Hagenbund after the owner of the artist clubs because if we look at the formation of Zum blauen Freihaus restaurant. Not long afterwards, these spaces linearly, one can observe, first and another group of artists formed the Siebener Club foremost, the evolution of Rodolphe Salis’s ‘very in the Sperl coffee-house. On the 3 April 1897, the modest undertaking’.14 Salis, an unsuccessful anti-establishment Austrian Association of Artists – artist desperate for funds, came up with the better known as the Vienna Secession – came into idea of opening a café in the bohemian quarter being in the Griensteidl coffee-house. Six years later, of Montmartre in order to placate his distiller in 1903, the Wiener Werkstätte was born around father, whose financial help he would only receive another such coffee-house table.13 if he found ‘some useful occupation’.15 In order

Fig 2. Photo, Sukita, David Bowie – ‘Heroes’ To Come, 1977. 9

to quench his own artistic appetite however, he Salis’ artistic sensibilities which drove the concep- was resolute in the idea that his café would gather tion of Le Chat Noir with its commercial success ‘artists and their closest friends’16 and become the being ‘at best a secondary consideration’.21 If we ‘centre of their activities’.17 Le Chat Noir was to consider how commercially lucrative both Le Chat serve the contemporary artistic community in Paris Noir and Club for Heroes would soon become, it by being the space in which young artists, writers, is important to note that for both Salis and Egan composers and musicians would convene habitu- the money they derived, from either entry into the ally to ‘converse, exchange ideas, read and perform artist club or drink sales, served a purely self-sus- their works for one another’.18 taining purpose. In the case of Club for Heroes, in particular, Egan relocated to the Blitz Club in order In our understanding of what sets these four artist to sustain the affordability of Club for Heroes for its clubs apart from the pre-existing social spaces young creative community: frequented by either established or embryonic artistic communities, we must observe from Le Chat Once we were a success Vince wanted to double the Noir two important factors. Firstly that, at its origin, price of drinks and admission… but it really was not Le Chat Noir maintained ‘a certain elitist character’ about the money, so we went to Brendan at the Blitz and did not actively seek out the general public.19 and we kept entry to a pound.22 While its door policy may not have been as strict as Club for Heroes, as will become more apparent later While considerably different in terms of spatiality, on, Le Chat Noir existed primarily for the ‘artistic, programme of entertainment and atmosphere, we literary and musical habitués’.20 Salis had aspired should note the principal design intent of all four to the profession of an artist since a young man artist clubs – the founders wanted to create a space however, a series of unfortunate events had brought in which a nascent artistic community ‘felt free to Salis to ‘abandon’ this dream. Nonetheless, it was realise themselves’.

Fig 3. Photo, Chonical/Alamy Stock Photo, The audience at Le Chat Noir in Montmartre, Paris, n.d. [ CHAPTER II ]

Fig 4. Wiener Werkstätte Postcard 532, Moriz Jung, ‘Viennese Café: The Man of Letters’, 1911. 11

Hermann Bahr

Everything in a room must be like an instrument in an orchestra. The architect is the conductor, the whole should produce a symphony. 12

II

Architecture of the Artist Club

Cabaret Fledermaus is the only artist club within stairs before stepping into an ‘exuberant explosion our exploration whose overall architectural design of colour and fantastical motifs’.30 As proclaimed by and concept would spring from the imagination of the Hungarian journalist, Ludwig Hevesi: a trained and practicing architect, Josef Hoffmann, and so deserves particular attention in our attempt The bar room is a room such as has never been seen to understand the role architecture plays in the before. Its décor is an original coup of decorative creation of spaces conducive to the cultivation of fantasy… The walls, and the bar itself… are covered emerging avant-garde artistic communities. with an entirely unknown kind of mosaic, ‘Colourful as colour itself, and as fantastic as our fantasies’.31 In order to understand the architecture of Cabaret Fledermaus and the way in which it catered to the artistic sensibilities of its habitués, one has to appre- ciate the artistic values being sought and practiced by Josef Hoffmann and, by extension, his Wiener Werkstätte. An evolution of key values established by the Vienna Secession, Hoffmann, together with the artist Koloman Moser and their all-important milchkuh,23 Fritz Waerndorfer, founded the Wiener Werkstätte in 1903, a group of artists, designers and craftsmen ‘embracing every field of artistic endeavour’,24 who manifested the Secessionist assertion that ‘all art is good’,25 through their devel- opment of a new integrated aesthetic.26 Inspirited by the Gesamtkunstwerk principle – ‘the integra- tion of all the various design elements in a single aesthetic environment’,27 – a wealth of subsid- It is interesting to observe here an account associ- iary art forms were embedded into the fabric of ating the unprecedented brilliance of the ‘bar room’ Cabaret Fledermaus and became, ‘inseparable with the host of multicoloured tiles lining the walls components’ of an architectural whole.28 As main- and bar, a ‘decorative’ feature which Hoffmann had tained by the well-known Viennese writer and commissioned the ceramic artists, Bertold Löffler poet, Peter Altenberg, ‘everything, but everything and Michael Powolny, to undertake.32 More effective [in Cabaret Fledermaus] contributes to a beautiful than the colourful arrangement of the bar, however, and distinguishing general effect’.29 The trans- was the excitement engendered by the way in which, formed product of the renovated basement at No. as expressed by Altenberg, ‘wherever one looks, 33 Kärntnerstrasse – a residential building located there are delicate, selected objects lovingly made by near Vienna’s fifth avenue – entry into Cabaret this great company of artists’.33 The level of detail Fledermaus involved descending down a flight of involved in the design of Cabaret Fledermaus where,

Fig 5. Photo, Artstor Library, ‘Cabaret Fledermaus’, View of Bar Room, 1907. 13

‘meticulous attention was paid to everything from the stairs before being confronted with something cutlery and ashtrays to the stationery and pins for captivatingly new and thought-provoking: the waiting staff to wear’,34 is really quite remark- able. In extension to Hoffmann’s incorporation of I remember the throb of electronic music as I went the ‘skills of furniture designers, ceramic artists, down the stairs. If you went into a soul club, there silversmiths and designers for its lighting, tableware was a bpm that was about 120, but this was pulsing and table decorations’,35 graphic designers also much slower than that, much more erotic. Maybe played a significant artistic role, producing an array it was Kraftwerk, I don’t know. I remember going of highly sophisticated ‘posters, tickets, menus, down these stairs, these red, kind of encased stairs. programmes, postcards and much more besides’.36 And it was like going down into something very Considering the wealth of artistic disciplines involved sexual and sinister. And the first two people I saw in the fabrication of Cabaret Fledermaus, (which is were Andy Polaris and his mate Kenny, dancing a yet to be expanded on), in harmony with the artistic slow jive that they’d invented together, which was perspective of the Wiener Werkstätte that placed kind of like that sideways thing, holding hands. equal importance on all the art forms, one can readily It was like watching a jive in ultra-slow motion. accept Hermann Bahr’s metaphor, ‘Everything in a room must be like an instrument in an orchestra. The architect is the conductor, the whole should produce a symphony’. Hoffmann synthesised the artistic expressions of a fantastically mixed artistic community, who at that time were ‘exploring the sensuous ideals of emerging Expressionism’.37

Through an ability to orchestrate all or any art form(s), ‘that brought with [them], from what- ever milieu they came, either life or beauty’,38 – the architects of these artist clubs imbued their spaces with a ‘propulsive energy’ that would,39 as eloquently voiced by the Secessionists, ‘awaken the desire that lies dormant in the breast of every man for beauty and freedom of thought and feeling’.40 This point becomes even more poignant when we turn our attention towards Club for Heroes and Maybe I’d seen it in the Cabaret movie or something, explore how Egan and Strange were able to orches- but it was hugely erotic, and those two guys, each trate, every Tuesday night, a ‘wonderland’,41 that one of them could have been the female partner. ‘sounded and felt like tomorrow’.42 While Egan and There was an androgyny about it.45 Strange did not redesign or refurbish the ‘dark’ and ‘kind of sleazy’ little box club (Billy’s),43 or ‘dark Sharply encapsulated within this account is, that and weird’ little wine bar (The Blitz),44 venues that through playing at Club for Heroes ‘what [he] they would take over for only a single night each considered to be great music’ – music that in fact, week, we can nonetheless detect, in a recollection ‘no one had heard being played anywhere else’ – of Gary Kemp, a strikingly similar visceral excite- Egan,46 fabricated a powerfully dynamic and artis- ment roused upon journeying down the flight of tically evocative energy within the club which,

Fig 6. Photo, Günter Fröhling, Kraftwerk, Düsseldorf, 1977. 14

‘ELECTRONIC, MELODIC, CONTINENTAL AND THEREFORE TERRIBLY INTERESTING’

as Steve Dagger describes, made him ‘feel’ as As explained by Andy McCluskey, in reference to though he was ‘stepping into the future’.47 A unique hearing Kraftwerk for the first time, the ‘erotic’ quality embodied by Egan (and still maintained music being played by Egan at Club for Heroes, by him now) was his ‘encyclopaedic knowledge ‘ticked lots of boxes [the artistic community] didn’t of music’,48 which one can attribute to his own, even know [they] had. It was different, electronic, particular affinity for ‘the sound[s] of the future’,49 melodic, continental and therefore terribly inter- and his artful capacity to synthesise these sounds esting and strange and just intellectually stimu- in a way that, as remarked by Martin Kemp, ‘fired lating’.53 It is worth mentioning that McCluskey first up our enthusiasm’.50 It is crucial to acknowl- saw Kraftwerk play in 1975 at the Empire Theatre edge the significance of Egan’s acute awareness of in London to stress that the seeds of a new zeitgeist the exciting, new, and transcendental currents in were already coming into existence in the UK. While music. To quote Egan, ‘I’d find European versions we have accounted for Egan’s clever synthesis of of records such as Kraftwerk’s Das Model, Le music at Club for Heroes, it is also valuable to illu- Mannequin, and Bowie’s Heroes in German and minate here the way in which, within this environ- French as I felt Europe and Japan had better music ment, people ‘felt they had the freedom to realise to offer than the American music dominating the themselves’.54 In comparison to McCluskey, ‘in seat charts and TV’.51 The ‘completely different’ music, Q36’,55 experiencing Kraftwerk in a live concert being played by Egan at Club for Heroes, was the environment (as thrilling and as vital this was to antithesis of the age’s popular music – ‘it was more his and OMD’s musical development) Club For stylish, decadent and futuristic’.52 One can there- Hero habitués Polaris and Kenny, could viscerally fore argue, that in a similar fashion to Hoffmann, express and manifest their feelings in a new artform. the ‘instruments’ being harmonised by Egan within Together the two invented an enthralling new dance the fabric of Club for Heroes were the new and which, as illustrated by Kemp, contributed to the hugely inspiring musical impulses venturing in overall energy within Club for Heroes, an energy from Europe and abroad. that Peter York describes, ‘a strange new mix of fantasy, style, yearning, preciousness and entrepre- neurial zeal’.56

Fig 7. Photo, [Rusty Egan, at his record shop ‘The Cage’ London n.d].

[ CHAPTER III ]

Wieland Schmied

Art becomes architecture, architecture art: the categories are fluid.57 17

III

Spirit of the Artist Club

In all these artist clubs the spaces became stages in the freedom to realise yourself’ – was intention- which its ideal public could express themselves in ally evoked through sensorial artistic programmes ways they had never done before. Here, they were which not only engaged their public’s interest,59 but able to give form and shape to their artistic sensi- developed their public’s senses and expanded their bilities through active experimentation and evolu- own consciousness of themselves. tion of ‘small art forms’,58 which within the realm of the artist club, they were engendered to practice. ‘PASSER-BY, HALT! However, as explained by founder of Creamcheese, Günther Uecker, this sense of autonomy – the BE MODERN!’ feeling of ‘being able to do whatever [you] want…

Fig 8. Photo, Terry Smith, ‘SteveReference Strange on the Door at the Blitz’, nd. 18

To begin our exploration into how these artist clubs references I took came from old films, art and music; instilled a sense of artistic freedom, it is consider- we made up our own rules. The element of self- ably interesting to note the way in which three of expression and re-invention became part of the bond these clubs maintained either a motto or sign at the with everyone who went to the Blitz… our ‘looks’ entrance of their clubs demanding autonomy and were extensions of our personalities run riot.66 self-determination from its public. ‘Do not enter if you’re ordinary’,60 was the strictly enforced door We can observe that the ‘beautiful costume[s]’ worn policy of Club for Heroes for example, which is in to Club for Heroes,67 and perhaps what the New effect, remarkably similar to the Creamcheese’s Romantics were most renowned for, were a wholly manifesto, ‘Come on, be yourself’,61 or that of authentic and artful expression of each habitué’s Le Chat Noir, which presented a sign exhorting individuality – looks that sprung from the realm ‘Passer-by, Halt! Be Modern!’.62 While the severity of desire, dreams, and ambition. This sense of of these proclamations varies, one can argue they all autonomy experienced by habitués inside of the function to provoke their audience’s sense of their club, who claimed that ‘this was the first place every- own individualism. body could wear what they wanted to wear’,68 was the artistic aim of Strange’s purposive door policy, In the case of Club for Heroes, the uncompro- that inspired and instilled a new confidence about mising door policy that was to be enforced by its art and the practice of art. door manager, Steve Strange, activated heights of creative activity among its ideal public in prepara- Cabaret Fledermaus did not have to deal with the tion for the club night itself. As Gary Kemp recalls, raw reality of London,69 as Vienna’s whole liberal ‘we’d arrive in our much-deliberated-upon splen- class was already consumed by art and artistic dour, cobbled together from Oxfam or under hot ideas.70 However, in the setting up of their artist sewing machines, brazenly kiss Strange at the club its founders asserted the ideal that their space door – a public gesture that signalled power to the would ‘not merely be an entertaining professional waiting hordes outside – and sashay in’.63 Strange revue but an experimentation field for various proclaimed that those inside Club for Heroes should and often intersecting fields of performing arts’.71 ‘look like a walking piece of art’,64 and, as alluded to Leading Austrian writer of fin-de-siècle Vienna, by Kemp, this precondition stimulated a high degree Egon Friedell, contended that Masken, one of the of forethought and artistic vision. ‘Looking for dead first performances presented to its public on its men’s clothes’ was the term this crowd would give to opening evening, was: their shared affinity for ‘scouring’ charity shops and then customising (at home) what they had bought, …something completely new. Three beautiful young in order to manifest the highest most artful ‘expres- ladies in superb fantastical dresses speak some sion of themselves’ possible.65 The level of intro- terse and esoteric maxims by Peter Altenberg to spection and thought, that each individual put into the accompaniment of strangely exciting music the fabrication of their New Romantic looks, should by Hannes Ruch. These three forms of art merge not be glossed over. As Club for Heroes habitué, closely here that one simply can no longer tell which Princess Julia, explains: of them makes the stronger impact. As a result, the entire thing exerts a wholly mysterious fascination For me there was nothing part-time about dressing that is quite unique.72 up. I was absolutely fascinated with image, creating different looks and developing a personal style. The We can note that the performers included the French 19 chansonnier Marya Delvard, Danish singer Gertude the big birds! And so, it is as well with the artists of Barrison and Austrian actress Lina Vetter (ex-wife small forms!78 of Adolf Loos), wearing costumes designed by the painter and graphic designer Carl Otto Czeschka.73 What is depicted here is the fresh and invigorating In the same manner as Josef Hoffmann, the perfor- idea that the artist club should be a space wherein mance brought together different modes of artistic each and every artist (within an ideal public), could expression’ – drama, poetry, music and the visual ‘produce themselves in spectacle’ regardless of their arts – into a ‘fluid, coordinated whole’.74 While it artistic discipline or notoriety.79 Free from subser- is important to consider the club’s view, to create vience to commercial values, albeit this would soon a space where ‘all the senses should be simultane- change, Cabaret Fledermaus functioned as a stage ously at least animated, and if possible, also satis- wherein one’s individual mode of artistic expres- fied’,75 it is also extremely worthwhile to examine sion was wholly valued and nurtured. In line with more closely the clubs contention, that ‘no art with Club for Heroes, whose message was ‘you can do it, its proper means be excluded from contributing to but whatever you’re doing has to be interesting’,80 its the overall effect’.76 at Cabaret Fledermaus various interrelated artistic activities, were ‘playfully’ intertwined and experi- mented with in the curation of highly sensorial and unprecedented entertainment programmes.81 As amplified by Friedell the ‘breaking down of bound- aries between art forms’ allowed for ‘new artistic possibilities to be opened up and tested out’.82

In respect to Club for Heroes, Stephen Jones claims that, ‘The Blitz ruled people’s lives. Exactly that. A nightclub inspired absolute devotion, of the kind previously reserved for a pop idol. I’d find people at the Blitz who were possible only in my imagi- nation. But they were real’.83 If we have asserted the point already, that habitués of all these artist Peter Altenberg, for example, regarded Cabaret clubs were often beknown to one another prior to Fledermaus as ‘the theatre of the art of small forms, the clubs’ conception, the ethereality of these artist the art of doing small things in the theatre the way clubs where people were dream-like and where their really big things are done’.77 Altenberg proclaimed, activities exerted ‘mysterious fascination’, was the that: direct result of the clubs’ ability to value, nurture and actively stimulate ‘the artist of small forms’. The cabaret should be, ideally speaking, a refuge of small great art! Not all birds are vultures, sea eagles, or condors who can rise 12,000 feet in the ice-clear sky from there to look down imperiously on vast stretches of earth! There are also precious and delightful little birds like the wren, the kingfisher and the crested titmouse. Perhaps they are even more original, noteworthy, and admirable than

Fig 9. Photo, August Stauda, The stage of the ‘Kabarett Fledermaus’ with the sisters Nagel and a Schrammel Quartet, 1908. [ CHAPTER IV ]

Fig 10: Visage Album Cover, Photo by Peter Ashworth, artwork by Iain Gillies, Typography by Kate Wilson, Design by Visage, [left to right, Steve Strange, Vivenne Lynn, Stephen Jones, Daryl Humphreys, Cerith Wyn Evans], 1980. 21

IV

The Artist Club as an Artist’s Resource

We have so far observed three commonalities of all genres of art’,86 the shadow theatre depended between our four artist clubs. Firstly, they brought upon the creative brainpower and technical capa- together a nascent vanguard community of artists bilities of many other Le Chat Noir habitués who and prospective artists. Secondly, the founders of could partake in roles where they best excelled and the clubs made a conscious effort to nurture indi- thus maximised the artistic potential of the entire viduality. Thirdly, through synthesising both new production. The shadow theatre involved as many artistic modes of expression and emerging artistic as twelve mechanics in addition to scriptwriters, sensibilities into a fluid, coordinated whole, the singers and musicians, and technical assistants.87 architects of these artist clubs constructed entirely Together they realised Henri’s vision: unprecedented atmospheres within their spaces which ignited a sense of artistic freedom and An ingenious combination of shadow and light cultural transcendence among their ideal public. play, décor painted or superimposed on glass and Now, a further imperative point that has not yet paper, cut-outs and Japanese style puppets, [that] been investigated but absolutely deserves our atten- created unparalleled pre-cinematographic effects tion, is that as a result of these three combined on the screen-stage. These were underlined by characteristics the four artist clubs became an inval- musical accompaniment, with a choir of sometimes uable artistic resource for an ideal public wanting to engage wholly in the intellectual pursuit of their own artistic development.

‘THE INCORPORATION OF ALL GENRES OF ART’

Within these artist clubs individuals had the oppor- tunity to pursue their artistic ideas, regardless of their own strengths, technical abilities or character traits, by drawing upon the shared camaraderie and the vast array of artistic knowledge and abilities which could, intermingle and stimulate one other. This is seen especially vividly in the Théâtre d’Om- bres, which developed within Le Chat Noir and ‘put all the Paris beau monde into a state of wonder by the brilliance of its technical and artistic innova- tion’.84 While perhaps the ‘brainchild’ of Henri Rivière,85 it is important to appreciate how the shadow theatre’s sophisticated development was not the lone product of a twenty-year old artist but the fruit of collective labour. In its ‘incorporation

Fig 11. Photoengraving, Louis-Ernest Lesage, ‘Behind the scenes at Le Chat Noir’, 1888. 22 up to twenty people backstage, piano or organ; by where habitués felt the tone of collaborative author- narration either of the story telling or satirical ship being undermined. In a similar manner to Mick commentary kind; and by acting.88 Jagger being refused entry to Club for Heroes for being dressed in jeans and trainers, a famed story Within the confines of the artist club, habitués from Cabaret Fledermaus is of one of its stars, Mela were enabled to overcome personal limitations Marx, being dismissed when she refused to perform through the formation of artistic partnerships. For in her specially designed costume (because it was example, it is interesting to note how the Austrian mould infested) and instead appeared in her ordi- writer Peter Altenberg, ‘the leading spirit of turn-of- nary clothes.93 the-century Vienna coffee-house culture’,89 while being ‘colourful, eccentric and irrepressible’ was If we take a look, once again, at the Club for Heroes also ‘notoriously shy and therefore incapable of we can expand on this point further to observe getting up on a stage and performing’.90 However, how the atmosphere of solidarity and collective in an inspired partnership with Friedell, one authorship within these artist clubs, allowed for which would become a ‘Fledermaus institution’,91 these communities of ‘rebels and libertarians’,94 to transcend the narrow, traditional and conservative confines of art and culture within their epoch. As remarked by Club for Heroes’ habitué, Robert Elms:

If you went to the Blitz and wrote everyone’s name down… well, it’s extraordinary. I would say from the early contingent of the Blitz in the first few weeks at least 60 percent would go on to be either famous or would be recognised for what they do.95

Let us remind ourselves that Club for Heroes was, at its origin, a community of young art students, hairdressers, shop assistants and unemployed ‘poseurs’,96 mostly under the age of twenty-four, without any formal qualifications. Living during a time of extreme socio-economic deprivation in Britain, summarised by Steve Dagger as ‘that wretched decade of strikes and power cuts, of Altenberg ‘found the perfect interpreter for his football violence and casual racism, of macho inexhaustible supply of stories, short sketches and unionism... rampant inflation [and] of charm- poems’.92 Embodying the theatrical flair and affinity less class conformity’,97 one can understand Steve for performance that Altenberg perceivably lacked, Dagger’s proclamation that, for the young people of Friedell could bring to life the witty and evocative the time, ‘there really was not much to look forward written works of Altenberg in a way that might have to’.98 Nevertheless, in a very extraordinary way, at otherwise been unrealised or untapped. It is also Club for Heroes, this ‘tribe’ of misfits,99 were liber- important to note, that being a space conducive ated by the social atmosphere and spirit within the to artistic collaboration, this meant that discipline club which engendered and cultivated fierce ambi- would be enforced, if it needed to be, in instances tion. As Robert Elms continues to explain:

Fig 12. Painting, Gustav Jagerspacher, [Portrait of Peter Altenberg], 1909. 23

The message was you can do it, but what you photographers, and graphic designers to create a were doing had to be interesting. It was incredibly visual aesthetic which synthesised 20th century liberating for all sorts of reasons. The fact that European romanticism. It is important to note here suddenly everyone around you is saying, ‘I’m going that the success of this project was phenomenal. Not to be a fashion designer,’ ‘I’m going to be a film- only did Egan succeed in creating new music for his maker,’ ‘I’m going to be a musician.’... ‘I’m starting a club, one of the singles in Visage’s first album, Fade magazine’… ‘I’m starting an agency’.100 to Grey, reached the top ten in popular music charts in eleven different counties including the UK, France More than just a place wherein an ideal public were and Austria. free to imagine and project their highest ambitions, at Club for Heroes habitués found the practical and emotional support necessary to help them see their artistic ambitions through, and at that, to see them through very quickly if not immediately. At Club for Heroes, in relation to the growing media and press interest that started to pervade the club, Steve Dagger explains how:

There was an etiquette amongst all of us that quickly developed. If somebody got in touch, we would always say, ‘Yes, there’s this journalist, this designer, However, it was not only Egan and Club for Heroes’ this DJ, this film-maker’… We were all trying to help habitués who were quick to realise the value of the each other. 101 club as a practical artistic resource. Recognising the powerful artistic ideas developing within the club’s Similar to the innovative shadow theatre that grew confines David Bowie, for example, visited Club for out of Le Chat Noir, soon Club for Heroes also devel- Heroes and picked out four of its habitués to feature oped its own sophisticated project – Visage – a in his second UK No. 1 single Ashes to Ashes and synth-pop music group that took inspiration from thereby catapulted the New Romantics’ artistic style Japan’s Yellow Magic Orchestra. Like Rivière, Egan’s and attitude further out into the ether.103 conception of the band sprang out of a desire to evolve the ideas already in fruition within the club:

The truth is, I started Visage because I’d run out of records to play at the Blitz. We’d been playing the same records every week, and I had this album by the Yellow Magic Orchestra and I was like, ‘Listen, this is the future.’102

Instead of going out and purchasing new music Egan was able to realise this goal himself using the Club’s readily available sea of musicians to set about the bringing to life of new sounds, and the Club’s well of self-proclaimed costume-designers, make-up artists,

Fig 13: Video, David Bowie and Toni Visconti, Mainmann/SA/ EMI, Ashes To Ashes, Blitz Kids as chorus to Major Tom, 1980. [ CHAPTER V ]

Fig 14: Photo, Volker Krämer, Daniel Spoerri, ‘We hang the counter from the ceiling’, 1969. 25

Düsseldorf during the sixties was not exactly a metropolis however, its ‘lively artistic environment’ brought the city into renown as a ‘European art capital par excellence’.104 Almost entirely devas- tated by World War II bombing,105 post-war recon- struction in Düsseldorf had resulted in an ‘economic miracle’,106 and this economic prosperity generated a wealth of potential art patrons and buyers within the city, which ‘attracted young artists from various backgrounds’.107 Düsseldorf had never been a ‘pioneer for new international artistic developments’ but now,108 in this particular post-war environment, there was a growing resistance among a younger generation of artists known as the Düsseldorf art scene, to the ideas of the older generation of artists who were consumed with processing Nazism and the experience of war through the international trend of Art Informal.109 Countering the mourning of the past, the Düsseldorf art scene aimed at regenerating art and culture with an optimistic attitude that was to spread hope for the future.110 Nevertheless, this break from lyrical expressionism and quest for arts renewal necessitated a space in which young artists, uninhibited by shackles of institutionalised conven- tion, had the freedom to develop their own ideas.

The problem faced by young, avant-garde artists, ‘aspiring to transform and redefine art in the after- math of World War II’,111 as German artist Otto Piene explains, was that ‘there were no exhibition V opportunities… we were young and full of energy [but] the conventional exhibitions had no room for what we were doing’.112 The inherent conserva- Beyond the Sanctum Sanctorum tism of pre-existing art institutions meant that the pursuit of developing new artistic areas of explo- While these artist clubs were conceptualised in such ration such as ‘monochrome colour, light, motion, a way as to serve the artistic needs of a small and space, and seriality’ required the creation of one’s considerably exclusive avant-garde artistic commu- ‘own means of promotion and display’.113 In 1957 in nity, the audiences that their creative activities order to create for themselves the freedom to show would reach and inspire were strikingly vast. This what they were thinking, the then art students of the chapter will explore the subtle dialectics of this Kunstakademie Düsseldorf, Piene and Heinz Mack, phenomenon looking particularly at the more recent began to organise a series of one-evening pop-up clubs Creamcheese and Club for Heroes. exhibitions which took place in Piene’s studio.114 26

‘ONCE THE SPACE WAS THERE, PEOPLE WERE INTERESTED’

action – sound action) and was entirely experimen- tative. For approximately three hours, ‘wrapped up in his fur coat and hat’, Beuys stood on a plinth in Like the Vienna Secessionists (who succeeded from the corner of the ‘action room’ and engaged himself the official Vienna Society of Fine Arts in 1897 and calmly in the execution of ‘very quiet, concentrated, created their own exhibition space in 1898) or Rusty and intense minimal movements’.117 At the same Egan (who professed, that ‘I knew that there were time, Kranemann’s band, PISSOFF, equipped with others like me with nowhere to go’, thus creating an amplifier and their classical and jazz instru- Club for Heroes in 1978), the beginnings of the new, ments such as the cello, clarinet, and saxophone German artists’ group Zero (1957-66), founded by created ‘three hours of the apocalypse. Loud! Noise! Mack, Piene and joined by Günther Uecker in 1961, Chaos! Pain barrier!’.118 While PISSOFF’s ‘sound – also demanded a space independent of the art insti- music – noise’ experimentation was perceivably tutions from which they sprang. Even though the more discomforting than melodic,119 this freedom Zero Group was to dissipate by 1966 a year later for artists to present and test out raw ideas, to a live Creamcheese, founded by Uecker and Mack,115 ideal public of around 300–400 people, was even- came into existence and as Eberhard Kranemann tually to have a huge impact on the development illuminates, catered to the needs of the emerging of contemporary art and electronic music not just avant-garde: in Germany but worldwide. Before looking at this development in greater detail however, it is impor- I was looking for like-minded people and found them tant to consider what Kranemann means when he at the art academy in Düsseldorf, where we were claims, ‘I think everyone important in Germany studying at the time. I was studying painting with and Europe were [at Creamcheese]’. As Dr Tiziana Professor Rupprecht Geiger. The other members Caianiello has written: were in Joseph Beuys’ sculpture class. We rehearsed at the academy, if you want to call it rehearsing. In the Creamcheese, which was strategically located Beuys hears us play. He was one of the professors near the Kunstmuseum, Kunstakademie, Kunsthalle at the Art Academy and liked what he heard, so and important galleries, the whole Düsseldorf art he asked us to perform together with him. We did scene was present: writers, visual artists, people from exactly that in 1967 at Creamcheese. Creamcheese the advertising industry and theatre. Also, gallery was a bar for people in the know.116 owners (such as Alfred Schmela) and museum people like the then director of the Kunstverein für die Rhein- The performance that Kranemann is referring lande und Westfalen, Karl-Heinz Hering, were regular to was called, Handaktion – Klangaktion (hand guests… Quite a few travelled from far away.120

Fig 15. Photo, R. Van den Boom. Heinz Mack, Otto Piene, and Günther Uecker at Nul Exhibition, Stedelijk Museum, Amsterdam, 1962. 27

Once the space was there – a stage for the Creamcheese is strongly associated with several of avant-garde’s ‘challenging actions and contempla- Düsseldorf’s most famous artists such as Günther tive performances’ – people were interested.121 It Uecker, Joseph Beuys, Gerhard Richter, Blinky was not only the inner circles of avant-garde art Palermo, and Sigmar Polke and three of the most students and artists who flocked to Creamcheese influential electronic bands Kraftwerk, Neu!, and and in a spirit of ‘trial and error’ performed in front Can, who were among its regular visitors. It is crucial of their peers – various other art professionals, to point out however, that at the end of the 60s and who had heard by word of mouth about the ‘goings early 70s, ‘these were largely unknown artists, who on’ within this artist club, would visit Creamcheese among others were able to try out the ideas and and then, find themselves both struck and stim- works in the Creamcheese that would later make ulated by the innovative programme of perfor- them world famous’.124 There would be much value mances, or rather experiments, that the club had to in exploring in more depth, how the artist prac- offer. For example, in 1968Documenta’s exhibition tices of Creamcheese’s artist habitués, in particular director, Arnold Bode, visited the Creamcheese their experimentations with processual art, perfor- and stated that, ‘this is a total work of art’.122 Bode, mance art and, film, would impact the contempo- so impressed by what he had saw, invited the rary European art scene. For example the Düsseldorf leading artists responsible for the running of the School was brought to Edinburgh in 1970 by the artist club, to rebuild a variant of Creamcheese – prolific artist impresario, Richard Demarco, and the ‘Documenta Club’ – in the orangery at the 4th with their exhibition Strategy: Get Arts, (held at the Documenta international exhibition in 1968.123 Edinburgh College of Art), ‘generated a dynamic and

Fig 16. Photo, Hans Jürgen Funck, View of the corridor with the rubber ducks by Konrad Fischer-Lueg, n.d. Fig 17. Photo, Edinburgh College of Art, Blinky Palermo making his wall painting Blue/Yellow/White/Red, for Strategy: Get Arts, presented at Edinburgh College of Art, 1970. 28 creative disturbance in a city where the influence of Michael Rother and the pioneering drummer Klaus the pre-war Scottish colourists such as Francis Cadell, Dinger also joined Kraftwerk.130 Shortly after John Duncan Fergusson, Leslie Hunter and Samuel Hütter’s return, he and Schneider-Esleben shifted Peploe still held sway’.125 Nevertheless, as there is their ‘improvised Kraut rock music towards struc- an extraordinary interconnection between the new tured electronic pop music’ with Rother and Dinger sounds being experimented with at Creamcheese then splitting from Kraftwerk to form Neu!.131 and the ‘sound[s] of the future’,126 that Egan would play at Club for Heroes, this investigation will to take In the earlier chapters we observed how, from as precedent. early as 1975, Kraftwerk were beginning to have a powerful influence on English musicians such as McClusky (co-founder of Orchestral Manoeuvres in the Dark). David Bowie who, to quote Egan, ‘was the one thing that joined [his fragmented artistic community] together’,132 also discovered Kraftwerk and Neu! around 1975 as he recalls:

I bought my first vinyl NEU 2 in Berlin around 1975 while I was on a brief visit. I bought it because I knew that they were a spin-off of Kraftwerk and had to be worth hearing. Indeed, they were to prove to be Kraftwerk’s wayward, anarchistic brothers. I was completely seduced by the setting of the aggressive guitar-drone against the almost-but-not-quite robotic/machine drumming of Dinger… At our regular swop-meets in 1976, Eno and I exchanged After hearing the sound of Kranemann’s band, sounds that we loved. Eno offered, among others, PISSOFF, the trained flutist and future co-founder Giorgio Moroder and Donna’s military R&B and of Kraftwerk, Florian Schneider-Esleben, joined the I played him Neu! and the rest of the Düsseldorf band and would play with them from 1967–1968.127 sound. They sort of became our soundtrack for the In 1968 Schneider-Esleben met the trained pianist year 1976.133 Ralf Hütter while studying at the Academy of Arts in Remcheid and then at the Robert Schumann The impact of Kraftwerk and Neu! on Bowie is Hochschule in Düsseldorf and for a year, they would perhaps most visible in Bowie’s album Heroes, play improvisational music together – Schneider- which he released in 1977. Paying tribute to Esleben playing the flute, Hütter on the Hammond Schneider-Esleben, the album included the largely organ, Kranemann on bass and Paul Lovens on instrumental track V-2 Schneider while the overall drums.128 On Boxing Day in 1970 an early forma- title of the album mirrored a track titled Hero, tion Kraftwerk, that involved co-founder Schneider- which featured in the Neu! album Neu ’75. Egan’s Esleben, Kranemann and Charly Weiss as drummer, keen fascination with the ‘Düsseldorf sound’, led played one of their first gigs at Creamcheese.129 him to go to the city himself, ‘between the closure of Kraftwerk’s other co-founder, Ralf Hütter, had Bowie Night at Billy’s and the early 1979 opening at momentarily left Düsseldorf to finish his architec- Blitz’,134 in pursuit of finding more music to play for tural studies in Aachen and in his absence musician his club. After going to Berlin – ‘where all the music

Fig 18. Kraftwerk, Hütter, Schneider, Bartos, ‘The Man-Machine’, Record Cover, 1978. 29

was – as far as [he] was concerned’ – to buy some records,135 Egan recalls how:

I then ran around Düsseldorf, I went to every record shop I could find and bought everything I could get my hands on: Neu!, La Düsseldorf, Riechmann, Rother, (and of course Kraftwerk) everything… I especially loved Wunderbar by Riechmann, as well as Flammende Herzen by Michael Rother.136

‘Impressed and inspired’,137 Egan returned to London and would play ‘all this ambient music’ at Club for Heroes.138 There is sufficient evidence to argue that the multi-sensory nature of playing this music in the highly dynamic environment of Club For Heroes, was crucial to the cultivation of an audi- ence and commercial success for this new German music and Kraftwerk in particular. For example, Egan chose to play Kraftwerk’s three-year-old single The Model, from the B-side of Computer Love, which was released in 1981.139 While The Model had failed to chart when it was first released in Germany (1978), seeing how successful these songs were among the British crowd at Club for Heroes, Kraftwerk’s record company EMI, re-issued the single in 1981 with The Model as the A-side.140 It immediately reached no. 1 in February 1982 in the UK and as a consequence Kraftwerk performed on Top of The Pops to an audience of about 17 million people.141 As a result of its success in the UK The Model was then also re-issued in Germany where it reached no. 7 in the charts – at the time Kraftwerk’s greatest success in Germany.142

What is so interesting is the potentially vast reach of these artist clubs that were set up solely to meet the specific artistic needs of emerging avant-garde artist communities. Acting as alternative artistic insti- tutions, these artist clubs became spaces where, as Günther Uecker explains, ‘collective and individual, conscious and unconscious memories and expec- tations, wishes and dreams intertwine[d] to form a new consciousness of perpetual change’.143 [ CHAPTER VI ]

The Preciousness of the Gesamtkunstwerk 31

The existence of these prolific spaces is inextricably The ‘Chat Noir’ is dead! The cabaret is closed; linked to the creators who founded them – sensitive the theatre, annihilated! The Chinese shadows individuals who, unwilling to fit in with society’s vanished! The poets and singers, scattered! expectations for them and ambitious to achieve so The journal, abolished! much more, created spaces steeped in values inte- Something considerable is leaving us, and when gral to art and culture’s renewal. I heard of the sale today of the last pictures, drawings, and other objets d’art In 1895, wanting to retire to the countryside, Salis that are going to be dispersed made the error of relinquishing Le Chat Noir to the To the four winds, Sir, of public auctions, hands of an organisation that proved unequal to the Something like a tear quivered on my eyelashes. task. When he returned to Paris in 1897, so ‘disap- Ah! The ‘Chat Noir,’ the first ‘Chat Noir,’ pointed by the fortunes of Le Chat Noir’,144 that the one on the Boulevard Rochechouart! had ‘lost its innocence and creativity’ through the You are too young, my lads, to have known rapid commercialisation and marketing of the artist this marvellous dive!147 club and its performers’,145 Salis returned to Paris and closed down Le Chat Noir entirely in view of During the later stages of this study, in conversa- opening another artist club in another area of Paris tion with Richard Demarco the discovery was made, and in a new style.146 Unfortunately, the world was that ‘the spirit of the Creamcheese [also] existed in never to see Le Chat Noir’s revival and, as Alphonse Edinburgh’,148 from 1963 to 1967 at the Traverse Allais wrote in his bittersweet piece that he dedi- Theatre. Unlike our four other artist clubs, this cated to Salis’ widow in 1898, Salis’ death marked space is still physically in existence, bares the same the end of his legendary artist club: name and ‘function’ however,149 to use the words 32 of Demarco, its core founder, ‘now is an abomina- decorative art of Wimmer-Wisgrill’ continued to tion’.150 Although this study has not explored the maintain somewhat of Fledermaus’ original creative creation of the Traverse Theatre, nor the creative spirit,156 the ‘emphasis on [freeform] experimen- activities which it would engage itself in during tation and the intertwining of different art forms’, this time, to strengthen our understanding of the that lends itself to the ‘open[ing] up [of] new artistic nature of these club’s ability to survive we must take possibilities’, was entirely destroyed when Fritz into consideration the way in which as explained Warendorfer (as a result of financial difficulties), by Demarco, when ‘I separated myself from the sold the artist club to Hugo Stein: Traverse in 1967, that’s when the Traverse died… it went into the hands of the wrong kind of people After the sale of the cabaret to Hugo Stein in who unfortunately, didn’t understand the precious- October 1909 the dance numbers were reduced ness of this world’.151 Here, Demarco is alluding to and ultimately eliminated entirely. The emphasis a pertinent point. The curation of the artist club – on experimentation and the intertwining of incubators of collective authorship and cross-dis- different art forms also soon ceased. The Wiener ciplinary artistic practice, that in an extraordinary Werkstätte and the Cabaret Fledermaus, which had manner can lead to the widespread rejuvenation of collaboratively opened up new artistic possibilities, art and culture, is an art form in and of itself. now took separate paths. The intention of creating a Gesamtkunstwerk yielded more and more to the Let us observe what led to artistic demise of Cabaret demands of sophisticated entertainment.157 Fledermaus. In 1909, the Viennese composer Heinrich Reinhardt took over the artistic direc- The change of artistic control over Cabaret tion of Fledermaus after the prior artistic director, Fledermaus instigated its decline into an entirely and renowned Master of Ceremonies, Marc Henry, commercial entertainment revue ‘without any retired from his position in order to tour through further pretensions to artistic distinction’,158 and Germany and France, with his stage partner and therefore, the role of the artist descended from wife (another prominent figure within the artist the level of creator to that of ‘producer for the club), Marya Delvard. When Henry departed from market’.159 No longer were the club’s habitués the Fledermaus, ‘the salad days of the most distinc- free to interweave nascent creative ideas and tive and famous Vienna cabaret were unmistakably follow their artistic interests in whichever way over’.152 Left in the artistically insensitive hands they felt best favoured their work. It is important of Reinhardt, Fledermaus was ‘redirected along to note also how Stein reduced the physical inte- more commercial lines’,153 which ushered in the rior design of Fledermaus ‘entirely to black and rise of shallower and more spectacle-orientated white’.160 Realising his error only when he found performances.154 For example, driven by the desire his customers, ‘accustomed to getting red plush to attract larger audiences and thus, increase the and gilded plaster for their money […] besides artist clubs’ commerciality Reinhardt extended the themselves’ due to the absence of the colourfully dance part of the Fledermaus’ programme as he had tiled bar and audience space which were ‘jewels of seen how the expressionist dance matinees of the intimacy and nobility’,161 Stein ‘sought to compen- Wiesenthal sisters in particular, had evoked ‘intense sate for his misfortune in part by painting the doors delight among the audience and press’ in the club’s pink and having a couple of jaunty fauns painted first season under the direction of Henry.155 If on the walls’.162 Five years later, in 1913, Cabaret the ‘performance of varying visiting dancers, the Fledermaus came to its definitive end when at the pieces by the dynamic duo Polgar-Friedell and the hands of ‘yet another management change’,163 33

the premises was ‘transformed into a “girlie” revue In this way, artist clubs are the design manifestation theatre’ called the Singspielhalle Femina’.164 of the ideals of their founders and the ideal public who frequented them and are therefore inherently In a similar fashion, existing for almost 10 years, susceptible to failure as soon as these values are chal- from 1967-1976, the Creamcheese would see its lenged or compromised. Without the artistic nature, descent into banality from the early seventies.165 capability and determination of sensitive souls, The demise of Creamcheese’s ‘heroic time’ is in acutely alert to the raison d’être of the artist club, direct correlation with the absence of several artists the spirit beholden within the confines of the artist who had contributed significantly to the concept to club – a spirit with the power to spur widespread the Creamcheese.166 As we have observed already, artistic and cultural rejuvenation – cannot exist. the artist club had triggered widespread intrigue within the artworld which had led to many of its habitués now being preoccupied with artist activities elsewhere. Not only did Uecker and Beuys exhibit their work at Documenta 4 in 1968, a considerable proportion of the Creamcheese crowd ventured up to Edinburgh in 1970 for the Strategy: Get Arts exhi- bition namely, Joseph Beuys, Gunther Uecker, Lutz Mommartz, Ferdinand Kriwet, Gerhard Richter, Adolf Luther, Heinz Mack, Binky Palermo, Sigmar Polke and Daniel Spoerri. These international oppor- tunities catapulted Creamcheese’s habitués into various different directions for example, following Strategy Get Arts, two of youngest and most inex- perienced artist members of this group Palermo and Polke (who were at this time in their mid-late twen- ties), went on to stage exhibitions at Documenta in Kassel and at the Venice Biennale.

The idea of the Gesamtkunstwerk in relation to the artist club is two-fold. Whether or not our architects were openly aiming to manifest the ideals of the Gesamtkunstwerk in the fabrication of their artist club, all four of their founding artists synthesised various art forms in the bringing to life of ‘specially conceived interiors and dynamic programmes of live performances that gave rise to total sensory experiences’.167 Within these aesthetically stim- ulating environments, artists across disciplines were liberated to ‘exchange provocative ideas and create new forms of expression’,168 and it was this interdisciplinary collaboration which spurred the production of a stream of other Gesamtkunstwerks. [ CHAPTER VII ]

Again We Love

My shining hour has come upon me here The moment lingers in my room These words of mad music ringing clear I drink them in but it’s gone too soon We cry, We sigh, Again we love

And in my sweating palm, I hold the key The image déjà-vus again My head is spinning with a rhapsody The moment’s over but it’s not the end We cry, We sigh, Again we love

These passing shapes feel so cool to me The taste of perfume in the air The crystal shimmer of a blue sea Sun kissed beaches, but there’s no one there We cry, We sigh, Again we love

‘Again We Love’ lyrics from Visage’s second studio album The Anvil, Writer(s): Billy Currie, Midge Ure, David Tomlinson, Steve Strange, Dave Formula, Peter Anselm, Rusty Egan, 1982. 35

VII

A Nostalgia for the Future

In each era that we have looked at, amidst even convention and socio-political chaos, was needed to the most uncongenial of social orders, the seeds be brought into fruition. of artistic and cultural renewal were already tran- spiring within society. However small or fragmented, In an investigation that spans an entire century from there existed ‘rebels and libertarians’ who possessed 1881–1981, across four different cities: Paris, Vienna, what Bowie described as, a ‘nostalgia for the Düsseldorf and London, to juxtapose Le Chat Noir, future’.169 Nevertheless, what was always missing, Cabaret Fledermaus, Creamcheese, and Club for were spaces that brought together these individuals Heroes, we have dug deep to bring out the obvious and inspired them to give form and shape to new significance of artist clubs in the development of art artistic ideas however nascent or experimental. and culture. Having the ability to observe so many commonalities between all four artist clubs has ena- The art of the artist club has revealed itself, through bled us to avoid some of the factors that has obscured the course of this investigation, to be a dynamic, our understanding of these artist clubs in the past all-embracing and dialectical art form. This art form such as, a focus on the artistic personality or a nostal- involves the design of architectural spaces that are gic projection about what was most ephemeral in the conducive to art not just being passively consumed past. This study has explored the pivotal role of a few but to the forming of the intellectual senses by inspired individuals who through the manifestation which the arts can be enjoyed and further evolved. of their artist club, were able to bring to life a spirit While only one of our artist club founders had an of solidarity, free-creation and collective authorship architectural background all the young architects which was and still is, integral to the mastery of new of these incredibly liberating and aesthetically media and collective approaches to the dissemina- stimulating artist clubs shared a sharply critical tion of new, artistic ideas. The propulsive energy of view about their existing society and, alert to new this would transcend the realm of the artist club and and exciting artistic currents in art, believed that beyond cultural elites to engage whole societies in a space, free from the shackles of institutionalised new artistic attitudes, ideas and sensibilities. 36

The Young Saving Culture from their Elders

The title of this dissertation – The Young Saving Culture from their Elders – takes its name from the ideology of the Vienna Fin-de-Siécle magazine Ver Sacrum, (Sacred Spring), the magazine of the Secession movement and is a reference to the creation not of a salon des réfusés but:

‘a new Roman secession plebis, in which the plebs, defiantly rejecting the misrule of the patricians, was withdrawing from the public... Where in Rome the elders pledged their children to a divine mission to save society, in Vienna the young pledged themselves to save culture from their elders’. Schorske, Fin-De-Siècle Vienna, p269.

While this manifesto arose in a specific context, like many of the other aspects and principles of all four clubs, it could apply equally to Paris, Düsseldorf or London as in each a young generation challenged the ideologies, conventions and aspirations of previous generations.

House of The Young Romantics

Houses of The Young Romantics was an art happening I curated in Leighton House Museum in Holland Park, London, on November 16th 2018, during my second year on the Architecture (MA Hons) degree course at the University of Edinburgh.

For the event I invited four other artists – Waad Al-Kateab, a Syrian documentary film-maker, Iman Dabbous, an Egyptian fine art student studying at NYU, Chris Hedges an English Cellist who had graduated that year from Cambridge University and Lan Klemenc, a Slovenian cocktail maker who I had met a few summers prior at Café Kafka in Vienna. Together we transformed and re-appropriated the rooms at Leighton House, leading audiences on a transcendental journey through five rooms – The Secret Garden, The Grand Hall, The Fourth Chapel, The Reading Room and the Exhibition Room – aiming to take them from the root of romanticism to the future. [ NOTES ]

Introduction 19 Ibid, pxiv. 1 Carl Emil. Schorske, Fin-De-Siècle Vienna: Politics 20 Ibid, p27. and Culture (Cambridge: Cambridge University 21 Ibid, pxiv. Press, 1992), p269. 22 Smith, We Can Be Heroes, p50. 2 Arnold Hauser, The Social History of Art: Naturalism, Impressionism, the Film Age. Volume Four (London: Routledge & Kegan Paul, 1962), p176. Chapter II

23 English translation: Cashcow Chapter I 24 Jane Kallir, Viennese Design and the Wiener Werkstätte: (New York: Galerie St. Etienne/George 3 Jason Cowley, ‘How the New Romantics Braziller, 1986), p22. Transformed British Culture,’ New Statesman, October 28, 2020. https://www.newstatesman. 25 Kallir, Viennese Design, p19. com/culture/books/2020/10/how-new-romantics- 26 Ibid, p22. transformed-british-culture 27 Ibid, p22. 4 Dylan Jones, Sweet Dreams: from Club Culture 28 Ibid, p22. to Style Culture, the Story of the New Romantics, 29 Werner J. Schweiger, Alexander Lieven, and W. G. (London: Faber & Faber Limited, 2020), p5. Fischer, Wiener Werkstätte: Design in Vienna 1903 - 5 Cowley, ‘How the New Romantics Transformed 1932, (London: Thames and Hudson, 1990), p148. British Culture.’ https://www.newstatesman.com/ 30 Florence Ostende et al., Into the Night: Cabarets and culture/books/2020/10/how-new-romantics- Clubs in Modern Art, (Munich, Germany: Prestel transformed-british-culture. Verlag, 2019), p55 6 Graham Smith, We Can Be Heroes London Clubland 31 Vergo, Art in Vienna, p176–8. 1976-1984: Punks, Poseurs, Peacocks and People of 32 Ostende et al., Into the Night, p55. a Particular Persuasion, (London: Unbound, 2021), 33 J. Schweiger, Alexander Lieven, and W. G. p51. Fischer, Wiener Werkstätte, p148. 7 Cowley, ‘How the New Romantics Transformed 34 Ostende et al., Into the Night, p55. British Culture.’ 35 Gabriele Fahr-Becker, Angelika Taschen and Annie 8 Jones, Sweet Dreams, p139. Berthold, Wiener Werkstaette:1903–1932, (Köln: 9 David Johnson, ‘1981, The Romantics – Taschen, 2003), p65. a Mainstream Deejay’s Guide,’ December 15, 2018, 36 Fahr-Becker, Taschen and Berthold, Wiener https://shapersofthe80s.com/blitz-kids/1981-the- Werkstaette:1903–1932, p65. romantics-a-mainstream-deejays-guide/. 37 Ostende et al., Into the Night, p55. 10 Jones, Sweet Dreams, p145. 38 Ibid, p57. 11 Ibid, p134. 39 B. Segel, Turn-of-the-Century Cabaret, p217. 12 Peter Vergo, Art in Vienna 1898-1918: Klimt, Kokoschka, Schiele and Their 40 Vergo, Art in Vienna, p46. Contemporaries (London: Phaidon Press Limited, 41 Smith, We Can Be Heroes, p178. 2015), p40. 42 Ibid p52. 13 Gabriele Fahr-Becker, Angelika Taschen and Annie 43 Jones, Sweet Dreams, p139. Berthold, Wiener Werkstaette:1903–1932, (Köln: 44 Ibid, p175. Taschen, 2003), p9. 45 Ibid, p136. 14 Lsia Appignanesi, The Cabaret, (London: Studio 46 Smith, We Can Be Heroes, p46. Vista, 1975), p19. 47 Jones, Sweet Dreams, p134. 15 Harold B. Segel, Turn-of-the-Century Cabaret: 48 Ibid, p140. Paris, Barcelona, Berlin, Munich, Vienna, Cracow, Moscow, St. Petersburg, Zurich, (New York: 49 Ibid, 176. Columbia University Press, 1987), p3. 50 Smith, We Can Be Heroes, p75. 16 B. Segel, Turn-of-the-Century Cabaret, pxiv. 51 Ibid, p67. 17 Ibid. 52 Ibid, p67. 18 Ibid, p17-18. 53 Jones, Sweet Dreams, p56–7. 38

54 Tiziana Caianiello, ‘Der Lichtraum (Hommage The drunken nihilistic violence that accompanied all à Fontana) Und Das Creamcheese Im Museum this and that performing artists such as Rusty Egan Kunst Palast: Zur Musealisierung Der Düsseldorfer and Midge Ure experienced most intensively and Kunstszene Der 1960er Jahre’, (dissertation, 2005), directly was horrifying. p105. 70 In fin-de-siècle Vienna the Haute Bourgeois’ 55 Jones, Sweet Dreams, p56–7. inability to create political change caused them to 56 Smith, We Can Be Heroes, p217. focus their efforts on challenging aesthetic values in the arts and social sciences. See Carl Emil. Schorske, 71 Ostende et al., Into the Night, p57. Chapter III 72 J. Schweiger, Alexander Lieven, and W. G. Fischer, Wiener Werkstätte, p144. 57 Fischer Fine Art Limited, Vienna: a birthplace of 73 Ostende et al., Into the Night, p57. 20th century design. Pt 1, 1900-1905, Purism and 74 Ibid, p56. Functionalism ‘Konstruktiver Jugendstil’, (London: Fischer Fine Art Ltd, 1981), p8. 75 Ibid. 58 B. Segel, Turn-of-the-Century Cabaret, p198–99. 76 Ostende et al., Into the Night, p56. 59 Caianiello, Der Lichtraum, p105. 77 B. Segel, Turn-of-the-Century Cabaret, p198–99. 60 ‘The New Romantic / Blitz Blub – Do Not 78 Ibid. Enter If You’re Ordinary,’ YouTube (YouTube, 79 Caianiello, Der Lichtraum, P96. January 1, 2012), https://www.youtube.com/ 80 Jones, Sweet Dreams, p188. watch?v=vUqv1FhwNeg. 81 Ostende et al., Into the Night, p56. 61 Schirn Kunsthalle Frankfurt, ‘Art Is Entertainment 82 Ostende et al., Into the Night, p61. Is Pop Is Creamcheese,’ Schirn Kunsthalle 83 Jones, Sweet Dreams, p183. Frankfurt, December 11, 2014, https://www.schirn. de/en/magazine/context/art_is_entertainment_is_ pop_is_creamcheese/, accessed December 1, 2020. Chapter IV 62 Julian Brigstocke, The Life of the City: Space, Humour, and the Experience of Truth in Fin-De- 84 Lisa Appignanesi, The Cabaret, (London: Studio Siècle Montmartre, (London: Routledge, Taylor & Vista, 1975), p19. Francis Group, 2016), p8. 85 Ibid. 63 Smith, We Can Be Heroes, p64. 86 Ibid. 64 B. Segel, Turn-of-the-Century Cabaret, p145. 87 Ostende et al., Into the Night, p31. 65 Jones, Sweet Dreams, p184. 88 Appignanesi, The Cabaret, p19. 66 Smith, We Can Be Heroes, p68. 89 B. Segel, Turn-of-the-Century Cabaret, p194. 67 Jones, Sweet Dreams, p185. 90 Ibid, p199. 68 Ibid, p134. 91 Ibid. 69 The 1970s were a long saga of misery from the 92 Ibid. Stock Market Crash of 1973-4 to the Winter of 93 Ostende et al., Into the Night, p58. Discontent of 1978-9, from The Irish War, which 94 Renato Poggioli, The Theory of the Avant- claimed 800 lives, to the massive industrial unrest Grade, (Cambridge, MA: Belknap Press of Harvard which included the switching off of energy supplies. University Press, 1981), p31. ‘Britain is a Tragedy – it has sunk to begging, 95 Jones, Sweet Dreams, p187. borrowing, stealing, until North Sea Oil comes in’, said US secretary of State Henry Kissinger 96 Paul Sorene, ‘We Can Be Heroes – London’s New to President Ford, continuing ‘That Britain has Romantics: 1979-1981,’ Flashbak, November 14, become such a scrounger is a disgrace’. In 1976 2017, https://flashbak.com/when-londons-new- Healey borrowed 3.9 billion euros from the IMF – romantics-were-heroes-1979-1981-40622/, accessed the largest loan in the Fund’s history and in return December 1, 2020. there was a slash in public spending of 8% far 97 Jones, Sweet Dreams, p28. higher than any achieved by Margaret Thatcher. 98 Ibid, p28. The Labour government was finally brought down, (the first time a UK government had been brought 99 Smith, We Can Be Heroes, p52. down since 1841), in the 1979 vote of No Confidence. 100 Jones, Sweet Dreams, p188-190. 39

101 Ibid, p213-4. 116 Rüdiger Esch, Electri_city: The Düsseldorf School of Electronic Music, (London: Omnibus Press, 102 Ibid, p205. 2016), p13. 103 Ibid, p294–5: ‘At one point Coco came up to me and 117 Ibid, p537. said, “David wants you on his table.’ I wasn’t being arrogant, but I said, “Excuse me, I have my job to 118 Ibid, p537. do. I take my job very seriously. This is not a goldfish 119 Ibid. bowl. The kids that are in this club are here because 120 Ibid, p120. they feel at home. My shift doesn’t finish until 1.30 121 Caianiello, Der Lichtraum, p126. a.m.” When I finally went up to him, he said to me, 122 Westdeutsche Zeitung, ‘Düsseldorf: Creamcheese – “I’ve been watching you and love what you’ve been Kneipe Als Gesamtkunstwerk,’ Westdeutsche doing and the sound that you’re creating musically, Zeitung (Westdeutsche Zeitung, November 9, 2018), and I’d like you to be in my next video.” He asked https://www.wz.de/nrw/duesseldorf/duesseldorf- me to style and choose the extras for the video, creamcheese-kneipe-als-gesamtkunstwerk_aid- which was “Ashes to Ashes”. So four of us were 34238977. told to meet outside the Hilton Hotel in London 123 Ibid. at 6.30 in the morning, and we were all thinking we’re going somewhere fabulous, and then we’re 124 ‘EX-Creamcheese Düsseldorf – Sound of Urbanana,’ told we’re going to Southend! They’d closed off the Holiday Travel Tips North Rhine-Westphalia, whole beach, but it was freezing. Bowie was known September 30, 2020, https://www.nrw-tourism. as a very clever thief; that’s why he turned to the com/ex-creamcheese. Blitz, because he wanted to be part of London’s most 125 Christian Weikop, Tate, ‘More Impact than the happening scene.’ Venice Biennale’: Demarco, Beuys and Strategy: Get Arts – Tate Papers, no.31, Spring 2019, Chapter V https://www.tate.org.uk/research/publications/ tate-papers/31/beuys-demarco-strategy-get-arts, accessed November 30, 2020. 104 Caianiello, Der Lichtraum, p15. 126 Jones, Sweet Dreams, p176. 105 Approximately 90 % Old City of Düsseldorf was destroyed by WW11 bombing. 127 Florian Schneider obituary, The Guardian (Guardian News and Media, May 7, 2020), https://www. 106 Caianiello, Der Lichtraum, p15. theguardian.com/music/2020/may/07/florian- 107 Ibid. schneider-obituary. 108 Ibid. 128 Ibid. 109 Ibid, p19. 129 ‘EX-Creamcheese Düsseldorf – Sound of 110 Ibid. #Urbanana’. 111 ‘ZERO: Countdown to Tomorrow, 1950s–60s,’ 130 Rüdiger Esch, Electri_city, p46. The Guggenheim Museums and Foundation, 131 ‘Features: Autobahn: From Neu! To Kraftwerk: accessed November 30, 2020, https://www. Football, Motorik And The Pulse Of Modernity,’ guggenheim.org/exhibition/zero-countdown-to- https://thequietus.com/articles/03472-from-neu- tomorrow-1950s60s-2. to-kraftwerk-football-motorik-and-the-pulse-of- 112 Guggenheim, ‘ZERO: Countdown to Tomorrow, modernity, accessed November 30, 2020. 1950s–60s,’ YouTube (YouTube, November 132 ‘Rusty Egan Interview – Saying It as It Is!! (Part 1),’ 25, 2014), https://www.youtube.com/ YouTube (YouTube, January 5, 2020), https://www. watch?v=Ikodk4tWOh8, 00:50 youtube.com/watch?v=gmPaTCVr4pw, 22:50. 113 Blair Asbury Brooks, ‘How the Zero Group Became 133 Mark Adams, ‘Bowie Tribute To Neu! For One of Art History’s Most Viral Movements,’ Reissue Campaign,’ David Bowie (David Bowie, Artspace, November 5, 2014, https://www. April 20, 2001) https://www.davidbowie. artspace.com/magazine/art_101/art_market/zero- com/2001/2001/04/20/bowie-tribute-to-neu-for- group-52526. reissue-campaign, accessed November 30, 2020. 114 Ibid. 134 The-Blitz-Kids, http://www.theblitzkids.net/playlist- 115 Piene, Mack and Üecker’s final joint exhibition at at-blitz-rusty-egan/, accessed November 30, 2020. Städitche Kunstammulungen in Boon, 1966, marks 135 Jones, Sweet Dreams, p175. dissolution of Gruppe Zero. 136 Rüdiger Esch, Electri_city, p183. 40

137 The-Blitz-Kids. 151 Ibid.

138 Rüdiger Esch, Electri_city, p183. 152 Ostende et al., Into the Night, p61. 153 B. Segel, Turn-of-the-Century Cabaret, p218. 139 Ibid, p183. 154 Ostende et al., Into the Night, p61. 140 Ibid, p294. 155 J. Schweiger, Alexander Lieven, and W. G. 141 At its peak in 1979, Top of the Pops recorded viewing Fischer, Wiener Werkstätte, p145. figures of over 19 million. Otherwise during this time 156 Ostende et al., Into the Night, p61. it averaged 15 million viewers each week. 157 B. Segel, Turn-of-the-Century Cabaret, p218–7. 142 ‘On February 6th, 1982 the Kraftwerk Single “The 158 Ostende et al., Into the Night, p61. Model” Reached the Top 1 of the UK Singles Chart!,’ Online alternative & underground music magazine, 159 Poggioli, The Theory of the Avant-Grade, p112. February 6, 2019, http://www.peek-a-boo- 160 Ostende et al., Into the Night, p61. magazine.be/en/news/2019/on-february-6th-1982- 161 Ibid. the-kraftwerk-single-the-model-reached-the-top- 162 Ibid. 1-of-the-uk-singles-chart/, accessed November 30, 163 Ibid. 2020. 164 Ibid. 143 T Caianiello, Der Lichtraum, p144. 165 Caianiello, Der Lichtraum, p126–7. 166 Ibid. Chapter VI 167 ‘Into the Night: Cabarets and Clubs in Modern Art,’ accessed November 1, 2020, https://www.barbican. 144 B. Segel, Turn-of-the-Century Cabaret, p80. org.uk/our-story/press-room/into-the-night- 145 Ostende et al., Into the Night, p31. cabarets-and-clubs-in-modern-art. 146 Ibid. 168 Ibid. 147 B. Segel, Turn-of-the-Century Cabaret, p80. 148 Richard Demarco, interview by Catherine Suleiman, Chapter VII Summerhall, Edinburgh, 30 November, 2020. 149 Ibid. 169 Nicholas Pegg, The Complete David Bowie (London: 150 Ibid. Titan Books, 2018), p62.

[ IMAGES ]

Fig 1. Catherine Suleiman, Lord Frederic Leighton’s Galerie New York, New York, accessed November 20, Fatidica, 2018, rendered pencil drawing on paper, 10 × 15 2020, https://fristartmuseum.org/exhibition/postcards- cm., London. of-the-wiener-werkstatte/.

Fig 2. Masayoshi Sukita, David Bowie – ‘Heroes’ To Fig 5. Artstor Library, ‘Cabaret Fledermaus’, View of Come, 1977, Photograph, 40x48cm., Snap Galleries, Bar Room, 1907, Photo, accessed December 9, 2020, England, accessed November 8, 2020, https://www. https://library-artstor-org.ezproxy.is.ed.ac.uk/asset/ snapgalleries.com/portfolio-items/david-bowie-1977- ARTSTOR_103_41822001645512. iggy-pop-photographs-by-masayoshi-sukita/. Fig 6. Günter Fröhling, Kraftwerk, Düsseldorf, 1977, in Fig 3. The History Collection/Alamy Stock Photo, Ralf Niemcyzk, Düsselforf Avant-Garde, How a City The audience at Le Chat Noir in Montmartre, Paris, Discovered Electronic Music, accessed December 10, n.d, photo, 32 x 22 cm, Alamy Stock Photo, accessed 2020, https://www.goethe.de/en/kul/mus/20708594. November 8, 2020, https://www.alamy.com/stock- html?forceDesktop=1. photo-le-chat-noir-cabaret-paris-2-postcard-140181702. Fig 7. [Rusty Egan, at his record shop ‘The Cage’ London Fig 4. Moriz Jung (1885–1915). Viennese Café: The n.d], in Chi Ming Lai, A Short Conversation with Rusty Man of Letters, Wiener Werkstätte Postcard 532, 1911, Egan, The Electricity Club, accessed December 10, 2020, Chromolithograph. Leonard A. Lauder Collection. Neue http://www.electricityclub.co.uk/egan/. 41

Fig 8. Photo, Terry Smith, ‘Steve Strange on the Door bowie-came-recruiting-blitz-kids-for-his-ashes-to-ashes- at the Blitz’, nd, Photo, accessed December 10, 2020, video/. https://www.lucy-bell.com/exhibition/terry-smith-blitz- Fig 14: Volker Krämer, Daniel Spoerri, ‘We hang pieces. the counter from the ceiling’, 1969, in Caianiello, Fig 9. August Stauda, The stage of the ‘Kabarett Tiziana. ‘Der Lichtraum (Hommage à Fontana) Und Fledermaus’ with the sisters Nagel and a Schrammel Das Creamcheese Im Museum Kunst Palast: Zur Quartet, 1908 in Ostende, Florence, Lotte Johnson, Musealisierung Der Düsseldorfer Kunstszene Der 1960er Phillip Dennis Cate, Alexander Klee, Jo Cottrell, Raimund Jahre,’ 2005, p141. Meyer, John Milner, et al. Into the Night: Cabarets and Fig 15. Photo, R. Van den Boom. Heinz Mack, Otto Clubs in Modern Art, (Munich, Germany: Prestel Verlag, Piene, and Günther Uecker at Nul Exhibition, 2019), p40. Stedelijk Museum, Amsterdam, 1962, Bloomsbury Fig 10: Peter Ashworth , Visage (Steve Strange, Vivienne Collections, Bloomsbury Academic 2018, https:// Lynn, Stephen Jones, Daryl Humphries, Cerith Wyn www.bloomsburycollections.com/book/witness-to- Evans, 1980, Photo 45 cm x 45 cm., National Portrait phenomenon-group-zero-and-the-development-of-new- Gallery, United Kingdom, accessed December 10, 2020, media-in-postwar-european-art/introduction https://www.npg.org.uk/collections/search/portrait/ Fig 16. Photo, Hans Jürgen Funck, View of the corridor mw261573/Visage-Steve-Strange-Vivienne-Lynn- with the rubber ducks by Konrad Fischer-Lueg, n.d, Tribbeck-Stephen-Jones-Daryl-Humphries-Cerith-Wyn- in Caianiello, Tiziana. ‘Der Lichtraum (Hommage à Evans. Fontana) Und Das Creamcheese Im Museum Kunst Fig 11. Louis-Ernest Lesage, Behind the scenes at the Palast: Zur Musealisierung Der Düsseldorfer Kunstszene Chat Noir, 1888, in Ostende, Florence, Lotte Johnson, Der 1960er Jahre,’ 2005, p100. Phillip Dennis Cate, Alexander Klee, Jo Cottrell, Raimund Fig 17. Edinburgh College of Art, Blinky Palermo making Meyer, John Milner, et al. Into the Night: Cabarets and his wall painting Blue/Yellow/White/Red, for Strategy: Clubs in Modern Art, (Munich, Germany: Prestel Verlag, Get Arts, presented at Edinburgh College of Art, 1970, 2019), p40. Photo, Demarco Archive, November 19, 2020, https:// Fig 12. Painting, Gustav Jagerspacher, [Portrait of www.demarco-archive.ac.uk/assets/1252-p1970_blinky_ Peter Altenberg], 1909, Wikimedia Commons, accessed palermo_strategy_get_arts_edinburgh_college_artp/ December 10, 2020, https://commons.wikimedia.org/ lightbox. wiki/File:Portrait_of_Peter_Altenberg_by_Gustav_ Fig 18. Kraftwerk, Hütter, Schneider, Bartos, ‘The Jagerspacher_1909.jpg. Man-Machine’, Record Cover, 1978, Division of Rare Fig 13: David Bowie and Toni Visconti, Mainmann/SA/ and Manuscript Collections, Cornell University Library, EMI, Ashes To Ashes, Blitz Kids as chorus to Major Tom, Cornell University Hip Hop Collection. https://library. 1980 in Shapers of the 80s, accessed December 10, 2020, artstor.org/asset/26300619. https://shapersofthe80s.com/2020/07/01/1980--why-

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Thanks

The Romantics: past, present and future.

Back Cover, Mixed Media Painting (Tar, Acrylic, Watercolour), Catherine Suleiman, ‘Take me to the Theatre’, 2015.