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University of Cincinnati UNIVERSITY OF CINCINNATI Date:____10/18/06__________ I, Ashley D. Rogers___________________________________________, hereby submit this work as part of the requirements for the degree of: Master of Arts in: Art History It is entitled: The Influence of Guy Debord and the Situationist International on Punk Rock Art of the 1970s This work and its defense approved by: Chair: Kim_Paice___________________________ Diane Mankin________________________ Mark_Harris_________________________ _______________________________ _______________________________ “The Influence of Guy Debord and the Situationist International on Punk Rock Art of the 1970s” A thesis submitted to The Department of Art History of the School of Art/College of DAAP University of Cincinnati In partial fulfillment of the requirements for the degree of MASTER OF ARTS In the Department of Art History of the School of Art 2006 by Ashley D. Rogers Committee Chair: Dr. Kimberly Paice ABSTRACT This study addresses the influence of Guy Debord (1931-1994) and the Situationist International (hereafter SI) on some punk rock art of the 1970s, particularly that of Jamie Reid (b. 1947). It examines the early work of Debord and the Lettrist International, the SI, and the latter groups’ concepts of urbanisme unitaire (integrated city creation), dèrive (a method of moving through urban space), and détournement (a kind of agitprop intervention in posters and in historical icons of art). Dètournement in particular was a key influence on poster art created during the 1968 student/worker protests in France, but the SI imprint is also evident in the graffiti and slogans created during this time of unrest. I further trace how, by way of the events of 1968, the SI went on to influence Reid’s punk rock art in 1970s England. CONTENTS LIST OF ILLUSTRATIONS……………………………………………………………...iv LIST OF POSTER/GRAFFITI TRANSLATIONS…………………………………….....vi INTRODUCTION………………………………………………………………………….1 Chapter 1. THE BEGINNINGS OF THE SITUATIONIST INTERNATIONAL………….5 2. SOUS LES PAVES, LA PLAGE………………………………………………15 3. EVER GET THE FEELING YOU’VE BEEN CHEATED? JAMIE REID’S PUNK ART…………………………………………………………………….35 CONCLUSION…………………………………………………………………………...46 BIBLIOGRAPHY………………………………………………………………………...49 ILLUSTRATIONS……………………………………………………………………….52 ILLUSTRATIONS Figure Page 1. Guy Debord, The Naked City, 1957……………………………………………….......52 2. Guy Debord and Asger Jorn, Fin de Copenhague, 1957………………………….......53 3. Guy Debord and Asger Jorn, Mémoires, 1959………………………………………..54 4. Guiseppe Pinot-Gallizio, Pittura industriale, n.d……………………………………..55 5. Asger Jorn, Paris by Night, 1959……………………………………………………...56 6. Asger Jorn, L’avant-garde se rend pas, 1962…………………………………………57 7. Marcel Duchamp, L.H.O.O.Q., 1919………………………………………………….58 8. André Bertrand, The Return of the Durutti Column, 1966……………………………59 9. Guy Debord, ne travaillez jamais, 1953………………………………………………60 10. Anonymous, sous les pavés, la plage, 1968…………………………………………61 11. Atelier populaire, MOINS DE 21 ANS voici votre bulletin de VOTE, 1968…………62 12. Comité Enragés-Internationale Situationnist, statement, 1968………………………63 13. Anonymous, Atelier populaire, 1968………………………………………………...64 14. Anonymous, We Shall Win!, n.d……………………………………………………..65 15. Atelier populaire, LE MEME PROBLEME LA MEME LUTTE, 1968………………66 16. Atelier populaire, RENAULT FLINS, 1968………………………………………….67 17. Atelier populaire, TRAVAILLEURS UNIS, 1968…………………………………….68 18. Atelier populaire, RETOUR A LA NORMALE, 1968………………………………..69 19. Atelier populaire, une jeunesse que l’avenir inquiète trop souvent, 1968…………..70 20. Atelier populaire, CRS=SS, 1968……………………………………………………71 21. Atelier populaire, LA POLICE VOUS PARLE tous les soirs à 20 h, 1968………….72 22. Bruno Barbey, Student Riots, 1968………………………………………………….73 23. Atelier populaire, LA POLICE S’AFFICHE AUX BEAUX ARTS, 1968……………74 24. Atelier populaire, SOIS JEUNE ET TAIS TOI, 1968………………………………..75 25. Atelier populaire, LA CHiENLiT C’EST LUi!, 1968………………………………...76 26. Atelier populaire, QUAND LES PARENTS VOTENT, LES ENFANTS TRINQUENT, 1968……………………………………………………………………...77 27. Atelier populaire, NOUS SOMMES TOUS JUIFS ET DES ALLEMANDS, 1968…..78 28. Atelier populaire, NOUS SOMMES TOUS INDESIRABLES, 1968…………………79 29. Anonymous, prenez vos desires pour la realité, 1968………………………………80 30. Jamie Reid, This Week Only This Store Welcomes Shoplifters, 1972-1974…………81 31. Jamie Reid, KEEP WARM THIS WINTER MAKE TROUBLE, 1973-1974…………82 32. Jamie Reid, LAST DAYS, 1973-1974…………………………………………….…..83 33. Jamie Reid and Ray Stevenson, Anarchy Flag, 1976………………………………..84 34. Jamie Reid, “God Save the Queen” single cover, 1977……………………………...85 35. Jamie Reid, Alternative “God Save the Queen” artwork, 1977…………………...…86 36. Jamie Reid, “God Save the Queen” art with swastikas, 1977……………………….87 37. Jamie Reid, “Pretty Vacant” single front, 1977……………………………………...88 38. Jamie Reid, “Pretty Vacant” single back, 1977……………………………………...89 39. Jamie Reid, “Holidays in the Sun” single cover, 1977………………………………90 40. Artist unknown, Entertainment! album cover, 1979………………………………...91 POSTER/GRAFFITI TRANSLATIONS Sous les paves, la plage: Beneath the cobblestones, the beach Je t’aime! Oh! Dites-le avec des paves!: I love you! Oh! Say it with cobblestones! MOINS DE 21 ANS voici votre bulletin de VOTE: Under 21 years old here is your vote LE MEME PROBLEME LA MEME LUTTE: The same problems the same struggles TRAVAILLEURS UNIS: Workers unite Une jeunesse que l’avenir inquiète trop souvent: A youth disturbed too often by the future LA POLICE VOUS PARLE tous les soirs à 20 h.: The police speak every evening at 8:00 LA POLICE S’AFFICHE AUX BEAUX ARTS. LES BEAUX ARTS AFFICHENT dans la RUE: The police show up at Beaux Arts. Beaux Arts shows in the streets. SOIS JEUNE ET TAIS TOI: Be young and shut up LA CHiENliT C’EST LUi!: The chienlit is he! Quand les parents boivent, les enfants frequent: When the parents drink, the children toast Quand les parents votent, les enfants frequent: When the parents vote, the children toast NOUS SOMMES TOUS DES JUIFS ET DES ALLEMANDS: We are all Jews and Germans NOUS SOMMES TOUS INDESIRABLES: We are all undesirables Prenez vos desires pour la realité: Take your desires for reality La Culture est perversion de la Vie: Culture is a perversion of life INTRODUCTION My study addresses the influence of Guy Debord (1931-1994) and the Situationist International (hereafter SI) on punk rock art of the 1970s. I will trace the development of Debord’s thought and practice and his philosophical art/anti-art group the Situationist International from its inception to the period of its overwhelming influence on the May 1968 protests in Paris via the worker and student protesters known as the enragés, and finally through to its influence on a limited body of British punk art in the mid-to-late 1970s. Although many intellectuals have written about the influence of the SI on punk rock ideas and artists, no one seems to have analyzed the effect of these influences on art of the period. My methodology is primarily a socio-political approach to the topic. This method is vital to any study of this period, since the social climate had such a profound impact on contemporary art. I also take into account cultural studies. I include formal analysis of the works, both thematic and iconographic. In the first chapter of the study I examine the intellectual roots of the SI. Its leader, Guy Debord, is considered one of the leading intellectuals of the second half of the 20th Century. Along with artists and others, he formed the SI in 1957, only to dissolve it 15 years later. Strongly influenced by Dada and Surrealism, the SI rose from the ashes of the Lettrist International, the London Psychogeographical Association, and Asger Jorn’s (1914-1973) Imaginist Bauhaus and CoBrA. Jorn formed the Imaginist Bauhaus in response to efforts to reform the original Bauhaus, and he was also a member of CoBrA (an acronym for a short-lived artists’ group that was disenchanted with Surrealism and whose members came from Copenhagen, Brussels, and Amsterdam). These groups had established some of the concepts so important to the SI, which I discuss extensively. The concepts included urbanisme unitaire (integrated city-creation) and 2 psychogeography, or the study of the effects of the geographical environment on individual behavior. The two key techniques of the SI include the dérive (drifting), a method of moving through urban space which Debord considered “a technique of transient passage through varied ambiances,” and détournement (diversion, semantic shift), which was a kind of agitprop intervention in posters and in historical icons of art. An example of détournement is the alteration of text in a found cartoon to infuse new meaning in the image. This practice was taken up by both the LI and SI, and it was later prominent in the work of the punk artist Jamie Reid (b. 1947). Although Debord is generally considered primarily a philosopher/filmmaker, there are examples of collage work by him, including a collaborative book that he made with Jorn entitled Mémoires, first published in 1959, and he made numerous pamphlets throughout his career. To act as a disharmonious wedge in intellectual thought, Mémoires was bound with a sandpaper cover, to ensure that it would damage any books that were placed beside it on a shelf. The SI also published a journal, Internationale Situationniste, which was a vehicle for their anti- establishment ruminations and détournées. Jorn’s Modifications series, over-paintings by Jorn of second-hand canvases by
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