• A History of Punk Art with Dr Marie Arleth Skov

  • 2024/08/01
  • 再生時間: 48 分
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A History of Punk Art with Dr Marie Arleth Skov

  • サマリー

  • Punk Art History: Artworks from the European No Future Generation (Global Punk) by Marie Arleth Skov

    The punk movement emerged during the mid-1970s, as young adults in the United Kingdom and Europe struggled to find steady employment. History was critical to the movement’s ethos. Punks rejected a narrative of supposed progress and prosperity, a rebuke evident in their visual art as well as their music. “No future,” the Sex Pistols sang, “there’s no future for you, no future for me.”

    Punk Art History examines punk as an art movement, combining archival research, interviews, and art historical analysis. Marie Arleth Skov draws on personal interviews with punk art figures from London, New York, Amsterdam, Copenhagen, and Berlin, including Die Tödliche Doris (The Deadly Doris), members of Værkstedet Værst (The Workshop Called Worst), Nina Sten-Knudsen, Marc Miller, Diana Ozon, and Hugo Kaagman. The book also features email correspondence with Jon Savage, Anna Banana, and Genesis Breyer P-Orridge. Many of these artists shared materials from their private archives with Skov, who examines a wide range of media: paintings, drawings, bricolages, collages, booklets, posters, zines, installations, sculptures, Super 8 mm films, documentation of performances and happenings, body art, and street art. She also discusses scandalous and spectacular public events like the Prostitution exhibition at the Institute of Contemporary Arts in London, which spurred walkouts and political debate with its graphic content, and Die Große Untergangsshow (The Grand Downfall Show) in West Berlin, a festival of “ingenious dilettantes.” Skov’s analysis reveals that punks saw themselves as the “rear-guards,” a rejection of the notion of progress inherent to the term “avant-garde.” After all, why would a “no future” movement want to lead the way for a culture they saw as doomed?


    Lively and accessible, Punk Art History will captivate students and scholars of art, design, and performance history, as well as readers with an interest in punk, music, fashion, feminism, and urban histories.


    Buy the book: Punk Art History: Artworks from the European No Future Generation

    Punk Art History on Intellect Books (publisher)

    Marie Arleth Skov on Intellect Books (publisher)

    Marie Arleth Skov on Punk Scholars Network

    Marie Arleth Skov Bird on Instagram


    Hosted on Acast. See acast.com/privacy for more information.

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あらすじ・解説

Punk Art History: Artworks from the European No Future Generation (Global Punk) by Marie Arleth Skov

The punk movement emerged during the mid-1970s, as young adults in the United Kingdom and Europe struggled to find steady employment. History was critical to the movement’s ethos. Punks rejected a narrative of supposed progress and prosperity, a rebuke evident in their visual art as well as their music. “No future,” the Sex Pistols sang, “there’s no future for you, no future for me.”

Punk Art History examines punk as an art movement, combining archival research, interviews, and art historical analysis. Marie Arleth Skov draws on personal interviews with punk art figures from London, New York, Amsterdam, Copenhagen, and Berlin, including Die Tödliche Doris (The Deadly Doris), members of Værkstedet Værst (The Workshop Called Worst), Nina Sten-Knudsen, Marc Miller, Diana Ozon, and Hugo Kaagman. The book also features email correspondence with Jon Savage, Anna Banana, and Genesis Breyer P-Orridge. Many of these artists shared materials from their private archives with Skov, who examines a wide range of media: paintings, drawings, bricolages, collages, booklets, posters, zines, installations, sculptures, Super 8 mm films, documentation of performances and happenings, body art, and street art. She also discusses scandalous and spectacular public events like the Prostitution exhibition at the Institute of Contemporary Arts in London, which spurred walkouts and political debate with its graphic content, and Die Große Untergangsshow (The Grand Downfall Show) in West Berlin, a festival of “ingenious dilettantes.” Skov’s analysis reveals that punks saw themselves as the “rear-guards,” a rejection of the notion of progress inherent to the term “avant-garde.” After all, why would a “no future” movement want to lead the way for a culture they saw as doomed?


Lively and accessible, Punk Art History will captivate students and scholars of art, design, and performance history, as well as readers with an interest in punk, music, fashion, feminism, and urban histories.


Buy the book: Punk Art History: Artworks from the European No Future Generation

Punk Art History on Intellect Books (publisher)

Marie Arleth Skov on Intellect Books (publisher)

Marie Arleth Skov on Punk Scholars Network

Marie Arleth Skov Bird on Instagram


Hosted on Acast. See acast.com/privacy for more information.

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