Magazine article Tate Etc.

Editors' Note

Magazine article Tate Etc.

Editors' Note

Article excerpt

Over a few months in 1972 three songs appeared that would define a new era: T Rex's Metal Guru, David Bowie's Starman and Roxy Music's Virginia Plain. Their self-conscious yet confident and poised style that became collectively known as Glam rock (though some hated this label) erupted from the hippy generation that preceded it. As Jon Savage writes, they "crashed the barriers between high and low culture, fine art and street style". The key characters of this period in art, music and film from both Europe and the USA appear in Tate Liverpool's 'Glam! The Performance of Style' (page 76), the first exhibition of its kind on this subject.

A decade earlier there was a different kind of watershed moment, when American Pop art fully entered the minds of British artists. For Allen Jones (page 44), his "creative imagination was set free" after seeing reproductions (in black and white) of Roy Lichtenstein's work in 1962. He recalls the "culture shock" that liberated his generation of artists (including fellow Europeans, as John-Paul Stonard explores on p46), to explore "a new pictorial language consonant with our times". These early works and many others will be on view in Tate Modern's Lichtenstein retrospective (page 31).

One wonders if the residents of the Lake District would have experienced a comparative sense of revelation (or perhaps bafflement) on entering Kurt Schwitters's Merz barn, the third of his Merzbau constructions, unfinished at the time of his death in 1948. …

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