Search results for ""cabaret voltaire""

These creative spaces were incubators of radical thinking, in which artists could exchange provocative ideas. They were welcoming environments for artists, dancers, designers, writers, and musicians pushing the boundaries of cultural and social norms. Spanning the decades from the 1880s to the 1960s, this unique and multi-faceted illustrated history of alternative artistic spaces covers four continents and includes both famed and little-known sites of the avant-garde. Organized by city, it features painting, drawing, photography, sculpture, film, and archival material emanating from over a dozen cabarets, clubs, and bars that were home to the likes of Henri de Toulouse-Lautrec, Loie Fuller, Josef Hoffmann, Giacomo Balla, Sophie Taeuber-Arp, Theo Van Doesburg, Jeanne Mammen, Jacob Lawrence, Ramón Alva de la Canal, and Ibrahim El-Salahi. It includes photographs of the interiors of the Chat Noir in Paris, the Café L’Aubette in Strasbourg and the Mbari Club in Nigeria; a cocktail menu from the Cabaret Fledermaus in Vienna; a 1930s night club map of Harlem; posters and invitations advertising performances at the Cabaret Voltaire in Zurich and Mexico City’s Café de Nadie; and countless artworks that emerged from these spaces conveying the energy and excitement of the time. A series of enlightening essays explore how each space fostered and stimulated new forms of artistic expression.

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Art school Britain in the 1960s and 1970s – a hotbed of experimental DIY creativity blurring the lines between art and music. In Blank Canvas, multi-genre musician turned university lecturer Simon Strange paints a picture of the diverse range of people who broke down the barriers between art, life and the creative self. Tracing lines from the Bauhaus 'blank slate' through the white heat of the Velvet Underground and the cutting edge of the Slits, Blank Canvas draws on interviews with giants of the genre across music, gender and race spectrums, from Brian Eno to Pauline Black, Cabaret Voltaire to Gaye Advert. Illustrated is a picture of two decades erupting in a devastatingly diverse flow of outspoken originality as an eclectic range of musical styles and cultures fused. Does modern day music education suffocate the soul and inhibit the impact of the bohemian artist? This book asks questions of today's artists, musicians, and educators, looking for the essence of creativity and suggests how lessons learnt in and around art school education show a path for the cultural evolution of both musicians and artists hoping to create the future. Audience will include university students at all levels in popular music, popular culture and creative arts education. Academics, educators and researchers working in popular culture and creativity. May also appeal to a more general reader interested in popular culture and creativity. With a Blank Canvas, anything is possible…

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As heard on BBC Radio 4's 'A Good Read’ 'Where and how Dada began is almost as difficult to determine as Homer's birthplace', writes Hans Richter, the artist and film-maker closely associated with this radical movement from its earliest days. Here, he records and traces Dada's history, from its inception in wartime Zurich, to its collapse in Paris in the 1920s when many of its members were to join the Surrealist movement, to its reappearance in the 1960s in movements such as Pop Art. This absorbing eyewitness narrative is enlivened by extensive use of Dada documents, illustrations and texts by fellow Dadaists. The complex personalities, relationships and contributions of, among others, Hugo Bali, Tristan Tzara, Picabia, Arp, Schwitters, Hausmann, Duchamp, Ernst and Man Ray, are vividly brought to life. Over a hundred years on from the riotous inception of Dada at the Cabaret Voltaire in Zurich in 1916, art historian Michael White provides a new introduction and commentary to a book that has become a legend in its own right, influencing a generation of performers and artists since its first publication in 1965 - David Bowie even quoted from Dada: Art and Anti-Art in his Scary Monsters album. Michael White has unearthed Richter's private correspondence with his fellow Dada artists to tell the story of how the book came about and, using previously unseen archive sources, enables us to read between the lines and discover the truth behind this most elusive of art movements.

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Along with Factory, Mute, and Creation, Some Bizzare was the vanguard of outsider music in the 1980s. The label s debut release reads like a who s who of electronic music, featuring early tracks from Soft Cell, Depeche Mode, Blancmange, and The The, while over the next decade its roster would include artists such as Marc Almond, Cabaret Voltaire, Einsturzende Neubauten, Foetus, Swans, Coil, and Psychic TV. For a time, Some Bizzare was the most exciting independent record label in the world, but the music is only half of the story. Self-styled label boss Stevo Pearce s unconventional dealings with the industry are legendary. Sometimes they were playful (sending teddy bears to meetings in his place), other times less so (he and Marc Almond destroyed offices at Phonogram and terrorised staff). Despite this, he was a force to be reckoned with. His preternatural ability to spot talent meant his label was responsible for releasing some of the decade s most forward-thinking, transgressive, and influential music. The Some Bizzare story spans the globe: from ecstasy parties in early 80s New York to video shoots in the Peruvian jungle, from events in disused tube stations to seedy sex shows in Soho. There were million-selling singles, run-ins with the Vice Squad, destruction at the ICA, death threats, meltdowns, and, of course, sex dwarves. For a time, Stevo had the music industry in the palm of his hands, only for it all to slip through his fingers. But he and Some Bizzare left a legacy of incredible music that still has an influence and impact today.

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The Designers Republic™ is the design group that changed design. But there’s never been a book that tells its story - until now. Led by founder and born rebel, Ian Anderson, The Designers Republic™ has shaped graphic communication over the past thirty years through rule-defying music work, provocative self-initiated projects and a fierce commitment to conceptual thinking over style. Now, for the first time in book form, Anderson explores the studio’s output, and its influence on a generation of graphic designers. AZTDR™ spans over three decades of work – from the studio’s earliest designs for the FON label in the mid-1980s and sleeves for Age of Chance, Chakk and Cabaret Voltaire, right up to its recent projects for The Cinematic Orchestra, Led Bib and the Gulbenkian Foundation. Alongside classic self-initiated TDR™ projects, the 512-page book features an A to Z of everything from campaigns for Evolution Print, Coca-Cola and Nike, through to the studio’s celebrated designs for video games such as Wipeout and Formula Fusion. TDR™’s special relationship with print is explored through its celebrated contributions to IDEA and Emigre magazines and its 3D>2D book, alongside its work for Manchester School of Art, Gatecrasher, NY Sushi and the studio’s array of music clients. Here, TDR™’s work with Autechre is examined via ten key releases, while the studio’s involvement with Pop Will Eat Itself focuses on some twenty-eight different singles and albums. There are also expansive sections devoted to TDR™’s designs for Aphex Twin, Moloko, Sun Electric and The Orb, alongside sleeve designs for R&S Records, New Atlantis, a range of Berlin-based labels and, of course, Warp Records.

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