Punk Art History

I am a punk in spirit but not in music making reality. My brother was, painting half of his face blue and being a teenager in 1977.  I am naturally affiliated to post punk or new wave but the word ‘punk’ is a strong symbol, something which emphasises innovative thought and new directions, anarchic and beyond the avant-garde. Punk as a word has become much more than its music; it’s a statement of intent. Marie Arleth Skov’s gorgeous Punk Art History highlights the visual impact of this time in history, providing both an archive and forward facing view of audio and visual connections, still as relevant now. 

Part of the wonderful punk scholars Global Punk series. Increasingly beautifully designed and playing with the edges of academic and popular publishing, Intellect publishing provide the space for this DIY aesthetic to exist, which is an incredible feat in the fine margins they work within. Skov’s style of writing is accessible and playful in a way that supports the ethos of the series. 

It is another sure fire connection between the art and music worlds that inspired contemporary music through the punk baton. The book is an art piece.

Marie clearly reviews the time period of punk, centering it around those key times from 1976-78. Unlike Jon Savage, for me highlighting the Sex Pistols, the Clash and especially Genesis P-Orridge’s Coum productions feels very London centric.The connection between COUM and punk is not one that I would always make as Throbbing Gristle were often a low, slow, industrial machine. Not the speed of punk which Skov expertly highlights. More like Gong or other hippie favourites. I would look at defining punk as for me Adam and the Ants for example weren’t punk but new wave or even new romantics.

PAH beautifully reviews connections between Andy Warhol and punk, Conceptual Art, Fluxus, the Situationists and Dada. Art and Language were also another key important connection. The image comparisons between Warhol’s Elvis and Gavin Turk’s Sid Vicious for example, are informative and visually exciting.

DIY expressions through Xerox and Super 8, the copiers and filmmakers of punk are explored. Derek Jarman was an art school guest lecturer at Hornsey. The rise of MTV and video through the visualisations that punk and post punk/ new wave brought into the pop music sphere.

A second book could explore Punk Art as a personal element – fashion and dress sense through DIY and daring. It is a brilliant supporting text to Ogg and Bestley’s The Art of Punk introducing context. Punk Art History is an excellent source of punk art so it would be great to have a follow up that connected the Buzzcocks, Exploited, the Damned, Stiff Little Fingers, Sham 69 etc.. I explain in Blank Canvas how Gina Birch of the Raincoats and Dexter Dalwood of the Cortinas for example forged a continuing visual art career.

Go buy this great historical artefact direct from the publisher or from your favourite independent book seller.

My book, Blank Canvas: art school creativity from punk to new wave can be purchased here – https://www.intellectbooks.com/blank-canvas