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Home , Alvin Stardust, Andy Mackay, Bryan Ferry, Glam rock, Mick Rock, Rock School

TEACHERS PACK GLAM! THE PERFORMANCE OF STYLE 8 February – 12 May 2013

1974 Candy Darling on her Deathbed Peter Hujar © The Peter Hujar Archive, LCC; courtesy Pace/MacGill Gallery, New York INTRODUCTION

Glam, a visually extravagant pop style The pack is designed to support teachers and exploded across Britain during the years educators in planning a visit to the exhibition 1971–5. The exciting, futuristic sounds, with a collection of ideas, workshops and extravagant fashions and glitter-dappled points for discussion. The activities are personas emerging in this era had their suitable for all ages and can be adapted to roots firmly in British art schools. your needs before, during and after your visit.

Glam! The Performance of Style is the A special school group price for exhibitions first exhibition to explore glam style is available if you book and pay at least and sensibility in depth. The exhibition two weeks in advance. Groups of students investigates artistic developments in under 18 years of age £4 and over 18s £4.40. Britain, Europe and North America through Teachers wanting to make a research trip the prism of glam, examining painting, to the exhibition in advance of a visit are sculpture, installation art, film, photography welcome to do so free of charge. Please and performance. book in advance. To book a visit please call 0151 702 7400. Bringing together more than 100 artworks, the exhibition will reveal the genealogy of For further details about visiting glam. Themes of camp, exaggerated identity, with your group see: , eroticism and dandyism will be www.tate.org.uk/learn/teachers/school-visits- explored in the work of David Hockney, tate-liverpool Andy Warhol, Cindy Sherman and many more. The exhibition also includes a new adaptation Details of events for both teachers of Marc Camille Chaimowicz’s spectacular, and students can be found on page 17 glitter-strewn installation Celebration?Realife

Nan Goldin Kenny putting on make-up, Boston 1973 featuring mirror balls, strobe and stage Email [email protected] © Nan Goldin, courtesy of Matthew Marks Gallery lighting and music including . Call +44 (0)151 702 7400

2 Teachers Pack ­– Glam! The Performance of Style CONTENTS

GUIDE TO 4

ART DIRECTED LIFESTYLE 6 David Hockney Mr and Mrs Clark and Percy 1970–1

ART AND LIFE 7 Marc Camille Chaimowicz Celebration?Realife 1972–2000

ROCK SCHOOL 9 , The Moodies, Richard Hamilton and Bruce McLean

THE RISE AND FALL OF ZIGGY STARDUST 11 Bowie 1971–4

ANDY WARHOL, AND THE NEW YORK 13

FURTHER RESOURCES 15

EVENTS 16

3 Teachers Pack ­– Glam! The Performance of Style A GUIDE TO GLAM ROCK

GLAM ROCK was a visually extravagant style AMERICAN GLAM ROCK was associated of rock and developed in Britain in with darker lyrics, heavier sound and more ACTIVITIES the early , characterised by outrageous overt sexuality than its British counterpart. costumes, make-up and hairstyles. Many of the bands took their stylistic FIND out about glam rock. Research the inspiration from New York queens bands. Listen to their music. Watch clips GLAM STYLE was camp or androgynous and and transvestites, for example: , of them on YouTube. What did they wear? often linked to changing views on gender , How did their fans dress? Make a collage roles. Visually, it was an eclectic mix of with images, sheet music, posters, album retro-fashions (Teddy-Boy suits, Hollywood PERFORMANCE and appearance played an covers, glitter, satin etc to represent your film stars, pre-war cabaret etc) and a trashy important part in Glam Rock. David Bowie favourite glam or performer. futuristic look (satin jump-suits, platform created the persona of Ziggy Stardust in boots, sci-fi etc). 1971 and famously ‘killed’ the character on MAKE glam accessories to accentuate stage at the Hammersmith Odeon, or transform an aspect of your character MUSIC was also diverse, ranging from 1973. Alice Cooper incorporated snakes into and personality sophisticated art school rock of Roxy Music; his live acts. wore flamboyant gender-bending space-age rock of Bowie, costumes accessorised by increasingly T.Rex, Sweet; retro of Mud, outrageous glasses and high platform-boots. Alvin Stardust etc. As Glam became commercially successful, the British pop FANS of glam rock would adopt the style of charts were taken over by stomping glitter their idols, for example: followers of Roxy bands and rock & roll revival acts such as Music would wear sophisticated evening dress Showaddywaddy, , Rubettes, and classy suits like ; Bowie fans , . Many existing bands also would paint their faces in gaudy colours, dye adopted the glam look during the period, their hair orange and wear satin jump-suits; for example Elton John, , Queen, Slade supporters wore platform boots, tank- Mott and . tops and braces. Badges, rosettes and scarves with the bands’ names became a popular means of demonstrating allegiance.

4 Teachers Pack ­– Glam! The Performance of Style ART DIRECTED LIFESTYLE David Hockney Mr and Mrs Clark and Percy 1970–1

David Hockney Mr and Mrs Clark and Percy 1970–1

5 Teachers Pack ­– Glam! The Performance of Style ART DIRECTED LIFESTYLE David Hockney Mr and Mrs Clark and Percy 1970-1

Ossie Clark and Celia Birtwell were part of suggest their independence and individuality. the 60s fashion scene at a time when London It can also represent the gulf developing ACTIVITIES enjoyed a worldwide reputation. Clark’s between them. Both figures engage with designs made in Birtwell’s textile prints were the viewer, not each other. Celia stands with RESEARCH 1970s fashion: Find out about sold from the celebrated Quorum boutique hands on hips, her curls highlighted to give Ossie Clark, Celia Birtwell, Zandra Rhodes, on King’s Road, Chelsea and modelled by such her the aura of a Botticelli angel. Next to her Mr Fish, Kansai Yamamoto etc. Make your celebrities as Elizabeth Taylor, Twiggy and on the table is a vase of lilies. These flowers own designs based on their styles. . represent purity in art iconography and also have associations with the Annunciation (she FIND examples of different fashions in the David Hockney was a close friend of both was pregnant at the time). Ossie slouches in exhibition. Make notes and draw sketches Ossie and Celia and this double portrait a seat, cigarette in hand, bare feet sensuously of the different styles associated with glam was executed shortly after their wedding playing with the rich pile of the rug. His gaze rock. Collect images and find out about at which he was best man. Hockney stated: is aloof and pose slightly camp – Ossie was 70s clothes such as platforms, loons, tank- ‘my main aim was to paint the relationship openly bi-sexual. The cat sitting on his lap is tops, midi and maxi dresses etc. of these two people.’ their other pet, Blanche rather than Percy, but Hockney felt the latter’s name sounded better DESCRIBE another room and its inhabitants He chose to depict them in the bedroom in the title. The cat, which is traditionally a from the exhibition (eg Derek Jarman of their chic Notting Hill apartment where symbol of infidelity in art, hints at Clark’s Duggie Fields at Home 1974; Franz Gertsch sunlight was filtered through a louvre extra-marital affairs which would lead to At Luciano’s House 1973; Nancy Hellebrand window. The room in effect becomes a stage the couple’s separation three years later. Dave and a Friend 1973–4). What do the with details of furnishings and possessions To further reinforce this message, Hockney furnishings and possessions tell you about carefully positioned in order to help the has placed one of his own etchings of the people in the room? Imagine that you viewer decipher the painting. Ossie and A Rake’s Progress 1961-3 on the wall behind are a journalist travelling back in time to Celia may appear to be a typical professional the couple. visit their homes and write a report on couple, but Hockney allows domestic details your experience. to hint at the growing tension in their relationship. Mr and Mrs Clark are placed DESIGN a room to reflect your personality, either side of the open window, which could interests and lifestyle.

6 Teachers Pack ­– Glam! The Performance of Style ART AND LIFE Marc Camille Chaimowicz Celebration?Realife 1972–2000

At the time of its creation, Celebration?Realife Celebration?Realife was first created in Since 2000, the work has been reconstructed represented a radical response to the 1972 for the Ikon Gallery, Birmingham and several times with some modifications. Since current glam scene. This installation work subsequently staged at Gallery House, its first staging when it was viewed as cutting- is comprised of a carefully arranged London, later that year. Chaimowicz refers edge contemporary art, the work has taken assemblage of found objects, items of to this form of art as a ‘scatter environment’ on historical significance. With its relics of the clothing, accessories, documentary material, which combines high art with ‘low art’ of glam era and soundtrack of 70s music, it is tinsel and glitter which appear to have been popular culture in a seemingly random evocative of a unique social group during a strewn on the floor. Lit by strobe lighting, display. For the original version, the artist was specific period in time. spotlights and the tessellated mirrors of present as part of the installation, offering balls, it appears to be the aftermath cups of tea and making conversation with The question mark in the title is crucial for of a 1970s party. Chaimowicz was born in visitors to the gallery. Chaimowicz, who explained: ‘The piece wasn’t France in 1947 to a Polish-Jewish father and evidently about real life. It was fiction; many French catholic mother. The family moved of the constituent parts were of the everyday, to London when he was eight years old and but they were almost metaphorical. I guess it has been suggested that this experience the question mark was a metaphor for that contributed to the sense of dislocation, gap between art and life.’ heightened awareness of identity, nostalgia and loss that pervades his work.

7 Teachers Pack ­– Glam! The Performance of Style ACTIVITIES

ART AND LIFE Marc Camille Chaimowicz Celebration?Realife 1972–2000

ACTIVITIES

RESEARCH installations and environments in COLLECT objects, images and materials art. When did this genre develop? Are such associated with the 1970s for a display works specific to their location or can they in your classroom. Ask older members of be shown anywhere? Has Celebration?Realife your family if they have any souvenirs or been shown anywhere else? What problems memorabilia from the period. You could do you think this form of art poses to have a ‘70s day’ when you dress up, paint curators in galleries where it is shown? your faces and listen to glam rock.

DESIGN a ‘scatter environment’ for 2013 WRITE a story or create a cartoon strip or using a cardboard box and filling it with story board using your experience of visiting objects and materials to suggest your Celebration?Realife as a starting point. What own lifestyle and interests. You could could have happened here? What period of also compile a soundtrack to accompany history are you in? What clues does the artist your work. give you? Who was in the room? Where are they now? WATCH Derek Boshier’s 1973 film, Reel: http://derekboshierart.com/gate/reel.html Find out about the 1970s – social history, politics, current events, music, tv, films, fashion etc. Why do you think glam rock evolved in the early 1970s? What does Boshier’s film tell you about Britain in the 70s?

8 Teachers Pack ­– Glam! The Performance of Style ROCK SCHOOL Roxy Music, The Moodies, Richard Hamilton and Bruce McLean

ROXY MUSIC Bryan Ferry and Graham Simpson RICHARD HAMILTON Pioneer of Pop Art, first formed a band in Newcastle while they many of Hamilton’s collages explored the were both at art-college in the late 1960s. relationship between consumerism and and were also former female identity. In 1969, Hamilton made a students at Reading University and interested series of ‘Cosmetic Studies’ which involved in avant-garde art and experimental music. cutting out fragments of model’s features The group they formed in 1971 became from fashion magazines and constructing a Roxy Music, the name chosen as homage to face from these details. The artist’s final touch old cinemas and partly a pun on the word was the application of real cosmetics to this rock. Visually and aurally they drew a range literally ‘made-up’ face. of styles from Hollywood chic, classical music, rock and roll revivalism, synthesisers, Ferry, one of the students taught by Hamilton electronic sound and science fiction. at the King Edward VII School of Art, University of Durham, exploited this style of classic Artist Anne Bean’s group, Moody and the ‘girlie’ and fashion magazines for Roxy Music Menstruators was also formed in 1971 by album covers and publicity material. a group of fine art students from Reading University. THE MOODIES became a cult band on the college circuit, championed by members of Roxy Music: Polly Eltes was then partner of their publicist, Simon Puxley. Eno and Mackay regularly attended their gigs and Ferry lent them his glitzy jackets. The Moodies contested the boundaries of art and Richard Hamilton Fashion Plate 1969-70 popular culture, described by Bean as ‘a great © The estate of Richard Hamilton brilliant exploration. Eltes referred to their fusion of kitsch, posing, conceptual art and improvisation as simply ‘showing off.’

9 Teachers Pack ­– Glam! The Performance of Style ROCK SCHOOL Roxy Music, The Moodies, Richard Hamilton and Bruce McLean

BRUCE MCLEAN rebelled against the formal academism of his tutors at St Martin’s School ACTIVITIES of Art, London by abandoning conventional DISCUSS the representation of women in the means of creating sculpture in favour of using FIND examples of 70s album covers and exhibition eg Richard Hamilton, Allen Jones, his own body. His work is often satirical, discuss the different styles and imagery Cindy Sherman. Do they present positive employing humour to confront the affectation used to sell records. Design your own cover images or do you feel that they exploit and pomposity of the art establishment. Pose or poster for a glam rock band. women? Why do you think some men Work for Plinths 3 was originally conceived as appropriated female attributes during the a performance at the Situation Gallery in 1971 DISCUSS examples of McLean’s Body Art, glam era? where McLean adopted the contrived poses originally made to rebel against the art of sculptor Henry Moore’s reclining figures, establishment and now displayed (in contorting himself across three different photographic form)at Tate Liverpool. Find sized plinths. other examples of artists using their bodies to create art in the exhibition (eg Eleanor As an art student, he also formed Antin, Ulay, Gilbert and George, Cindy Style Pose Band whose mission was to Sherman, ASCO etc). Discuss their work, how challenge the pretentions of the art-world it was made and why? Compare their form by appropriating the body image and style of body art to that of McLean. of 1970s popular culture. They did not play instruments or sing, but mimed to records in WATCH Roxette c1977 by John McManus. ‘the quest for the perfect pose.’ Band member What does the film tell you about this group Gary Chitty described their interest in ‘glam of Roxy Music fans? How did they dress? rock and in having the best-shaped guitars… How does their self-styled world contrast The whole visual imagery of was with their real-life environment? inspiring to us, if not more inspiring than contemporary art at the time.’

10 Teachers Pack ­– Glam! The Performance of Style THE RISE AND FALL OF ZIGGY STARDUST David Bowie 1971–4

David Bowie had a hit single with Space ‘killing’ him off in 1973 and reinventing a new Bowie was one of the few British glam Oddity in 1969 but following a few years of persona for his own multi-faceted career. rock acts to achieve success in America. experimentation, re-emerged in 1971 with He became part of Warhol’s New York circle androgynous alter ego, Ziggy Stardust. The has been referred to as the ‘Man and was subject of Ray Johnson’s Untitled persona drew upon a number of sources Who Shot the Seventies’. He produced some (Toothbrush with David Bowie) 1979/1987- including Japanese Kabuki theatre, Lindsey of the iconic images of the period and admits 8/1990-91. Johnson created over 200 Kemp’s mime, Aubrey Beardsley drawings, that it was his interest in popular music silhouette portraits of personal friends ‘Trash’ style of American drag queens and sci- that attracted him to photography. In his and celebrities by drawing around their fi. The Ziggy Stardust pseudonym was inspired capacity as official Bowie photographer, Rock shadow projected onto a sheet of paper by the American performer ‘Legendary documented not only the stage persona of and then filling the resulting profile with Stardust Cowboy’ combined with the name of Ziggy, but also behind the scenes images of collaged ephemera. a tailor’s shop called Ziggy’s that he passed the band. He also captured of ‘Bowie-mania’ on a train. He liked the fact that this name in images such as Bowie Fans c1972 which linked him to outrageous American glam shows teenagers in adoration of their idol. rocker, Iggy Pop, but Bowie also enjoyed the connection with a gents’ outfitter: ‘I thought, NANCY HELLBRAND also photographed Bowie well, this whole thing is gonna be about fans, but in the intimate surroundings of clothes, so it was my own little joke calling their homes, decorated as shrines to glam him Ziggy.’ rock. 1973 represented the height of the glam phenomenon but it was also the year Bowie’s 1972 appearance on that Britain officially entered recession. The with the Starman single propelled the Ziggy American photographer was interested in character to overnight fame. The concept social observation and her black and white album, The Rise and Fall of Ziggy Stardust images present the stark contrast between and told the story of the drab bedsits of her subjects and the this definitive glam rock star which Bowie form of escapism represented by glamorous elaborated upon in live performances before posters pinned on their walls.

11 Teachers Pack ­– Glam! The Performance of Style THE RISE AND FALL OF ZIGGY STARDUST David Bowie 1971–4

ACTIVITIES

LISTEN to Bowie’s albums of the 1970s WRITE a glam poem! Bowie often wrote (eg , The Rise and Fall of Ziggy songs by cutting out words and phrases Stardust and the Spiders from Mars, Aladdin and then randomly selecting them for Sane and ). How does David lyrics (see http://www.youtube.com/ Bowie’s music develop during this period? watch?v=HnIBBkgkO5o) Try using the same How does his persona change? Describe the approach to create a poem. image he creates for each project. PAINT your face in the style of Ziggy Stardust EXPLORE the different representations of or . You could make masks to Bowie in the exhibition. Make a note of the paint instead and look for other images in media used, discuss how Bowie is presented the exhibition for inspiration. You could, for in the image and express your personal example copy the made-up faces of Alice responses to the work – would you describe Cooper, , or Brian Eno. it as ‘glam’? Make your own artwork with Photograph each other to create your own Bowie as subject and choose appropriate portraits. materials to capture his persona. MAKE a ‘silhouette portrait’ using Ray INVENT a glam rock star! Think of an Johnson’s collages as inspiration. Draw appropriate name for his/her band, song around your shadow projected onto a titles etc. Design costumes, posters and sheet of paper and then fill the outline with album covers and write a spoof biography a range of materials such as newspaper with illustrations. cuttings, photographs, satin, glitter etc.

12 Teachers Pack ­– Glam! The Performance of Style ANDY WARHOL, LOU REED AND THE NEW YORK SCENE

Andy Warhol’s interest in superficiality, celebrities, rock stars and transvestites. Photographer, Billy Sullivan also documented glamour and pose made him a natural icon Between 1964 and 1966, Warhol made of the 1970s’ Glam scene. The seductive short films of 472 visitors to the venue. yet unattainable allure of celebrity and These ‘screen tests’ were not meant as contemporary notions of cool style were auditions but intimate portraits of individuals integral to his art. By the mid-1960s, Warhol who were subjected to the scrutiny of his was not only a key figure in American art, but camera lens. Lou Reed (Coke) 1966 was one in popular culture itself. of the films in this series (see http://www. .com/watch?v=MLpjmOWTMZI). Warhol began as a commercial artist. During Warhol became involved with Reed’s band, the 1950s, many artists supplemented their in 1970. He designed early careers by working in the fashion the iconic cover of their first album and industry as draughtsmen and window introduced Reed to the multi-faceted artistic dressers. Warhol achieved enormous scene that provided him with inspiration for success as an illustrator, specialising in many of his songs. elegantly drawn shoe advertisements for clients who included Vogue and Bonwit Actress Candy Darling starred in a number Peter Hujar Cockette John Rothermell in a Fashion Pose (Cockette) 1973 Teller. The addition of gold leaf to the simple of Warhol’s films but is best known as one © The Peter Hujar Archive, LCC; courtesy Pace/MacGill Gallery, New York outline of Man’s Shoe c1956, transforms an of the transsexuals mentioned in Lou Reed’s everyday item into a luxury commodity and a Walk on the Wildside, 1972. She was also glamorous object of desire. the subject of Peter Hujar’s photograph, Candy Darling on her Deathbed 1974 taken in His success as one of the highest paid Columbus hospital where she died at the age commercial artists in New York allowed of 29 from lymphoma. Hujar photographed Warhol the freedom to experiment with his many of the luminaries of the New York art in the 1960s. His studio, The Factory was counterculture of the 1970s and this image a creative hub where people from all walks of also appears on the cover of Antony and the life congregated including artists, film-makers, Johnsons’ 2005 album, I am a Bird Now.

13 Teachers Pack ­– Glam! The Performance of Style ANDY WARHOL, LOU REED AND THE NEW YORK SCENE

the drag scene with candid images of his friends (New York/London 1971-5). ‘My work is ACTIVITIES a diary of a life,’ Sullivan explained ’I went out READ Ian Hunter’s account of his band, Mott every night...it seemed only natural that the DISCUSS works in the exhibition that address the Hoople’s American tour (Diary of a Rock two would combine.’ His photographs capture issues of gender and self-identity (eg Ulay, and Roll Star, 1974). fleeting moments with an intimacy that draws Cindy Sherman, Katharina Sieverding, Franz the viewer into their bohemian world. Gertsch etc).

The trashy decadence of Warhol’s circle also FILM a ‘screen test’ or video portrait in the had an influence on British glam. Roxy Music style of Andy Warhol or Gilbert and George. referred to one of Warhol’s ‘superstars,’ Think about how you are going to present Baby Jane Holzer in their first hit single, your subject – clothes, make-up, hair, . Bowie wrote a song about lighting, background etc. the artist (featured on his 1971 Hunky Dory album). He also produced Lou Reed’s Glam DRAW shoes. Transform them into luxurious Rock masterpiece Transformer in 1972. commodities with glitter and gold paint. You could set yourself the challenge of painting real shoes with enamel paints or shoe dyes.

LISTEN to music by The Velvet Underground, Alice Cooper, Lou Reed, Iggy Pop etc. How does it compare to British contemporaries. Find out which British acts were successful in the USA and vice-versa.

14 Teachers Pack ­– Glam! The Performance of Style FURTHER RESOURCES

BOOKS VIDEOS FILMS Darren Pih, Glam! The Performance of Style, www.youtube.com/user/OfficialDavidBowie T Rex , 1972 Tate Publishing 2013 www.youtube.com/watch?v=WZ-7ZWi3bnY Ziggy Stardust and the Spiders from Mars Richard Allen, Glam, New English Library 1973 (the making of Lou Reed’s Transformer) 1973 (available free for Kindle at Amazon) www.youtube.com/watch?v=ljlHbHL8KUo The Rocky Horror Picture Show 1975 Philip Auslander, Performing Glam Rock: (Andy Warhol documentary) Gender and Theatricality in Popular Music, University of Michigan Press, 2006 derekboshierart.com/gate/reel.html

Ian Hunter, Diary of a Rock and Roll Star, Panther 1974

Mick Rock, Glam! An Eyewitness Account, Omnibus Press, 2005

Philip Tait, A 1970s Childhood: From Glam Rock to Happy Days, The History Press, 2011

15 Teachers Pack ­– Glam! The Performance of Style EVENTS

STUDY DAYS AND WORKSHOPS Photographic Portrait study day Teachers photographic portrait 14 March twilight workshop Glam! art, design and textiles study day 10.00–4.00 14 March 7 March 4.30–6.30 10.00–4.00 Suitable for AS, A Level and BTEC students Free, Max 4 students per school/college You will work with artist Joann Kushner in her Suitable for AS, A Level and BTEC students portable studio to explore ways of exploring Max 20 students Responding to work in the exhibition Glam! technique and representation with your The Performance of Style, participants students. Working with artist Jennifer Collier will work with artist Joann Kushner in her students will have the opportunity to portable studio to explore technique and All of the above events require booking via see our forthcoming exhibition Glam! representation in their own portraits. website or on 0151 702 7400 The Performance of Style and explore a range of techniques in the studio. Jennifer’s own practice focuses on creating work from Teachers Glam art, design and textiles TALKS AND WORKSHOPS paper; by bonding, waxing, trapping and twilight workshop stitching producing unusual paper ‘fabrics’, 7 March 2 hour gallery based artist led workshops which are used to explore the ‘remaking’ 4.30–6.30 can be booked for your group to explore of household objects. Participants will the exhibition. Charges are £70 per group create their own works with materials that Working with artist Jennifer Collier you will of up to 17. reference the exhibition themes of surface, have the opportunity to explore some of the glamour and identity. techniques delivered during the student study Talks for groups of up to 60 are also available day to create your own works with materials priced at £20 (up to 20 students) to £60 (up to that reference the exhibition themes of £60 Students). surface, glamour and identity. To book your group visit to Glam!, a talk or workshop please call 0151 702 7400

16 Teachers Pack ­– Glam! The Performance of Style EVENTS

TALKS AND CONFERENCES Glamorama! Dr Petra Lange-Berndt, Lecturer in History Tate Liverpool of Art, University College London; and Glamology Friday 15 March 10:00-16:30 and Alwyn W Turner, writer and social historian. Tate Liverpool, Auditorium Saturday 16 March 10:00-16:00 Saturday 23 February, Saturday 23 March Please note that this event takes place at and Saturday 20 April, all at 14.00–15.00 £50, concessions available Camp and Furnace, 67 Greenland Street, Student tickets (£12.50) are available when Liverpool, L1 0BY. £8, concessions available booking with a valid student card. Purchase all three sessions for the ALSO IN LIVERPOOL: discounted price of £20, or select Advance booking is essential. individual talks to attend. The Art of Pop Video Explore the music, film and performance of Major exhibition opens March 2013 Advance booking is essential. the glam era in Glamorama! This two day at FACT, Wood Street Liverpool event will discuss the legacy of glam culture, Join us for a series of talks that reflect the relationship of glam to the visual arts Join FACT in celebrating the The Art of Pop on the glam era through its music, fashion and the international significance of glam. Video in a major exhibition due to open in and art. Glamology will discuss the influence Glamorama! will feature a diverse programme March 2013. In the first exhibition of its kind of Glam Rock on popular culture, fashion of talks, round-table debates, reflection on in the UK, more than 70 video clips tell the and performance, from Warhol to Bowie, performance works and film screenings. story of the pop video, marking the medium’s Roxy Music and beyond. The programme will include presentations substantial contribution to popular culture. and participation by a range of experts. Those taking part include Michael Bracewell, Exhibition runs from 14 March to 26 May 2013. renowned cultural critic, writer and curator; Marc Camille Chaimowicz, artist and key figure in the visual arts from the 1970s to now; Professor Jonathan Harris, Professor in Global Art & Design Studies, Winchester School of Art;

17 Teachers Pack ­– Glam! The Performance of Style