30 Jun 2004
Whilst ostensibly taking a Fac-break on holiday in New York City it was impossible to completely detune. On the condensed tour of the Metropolitan Museum of Art (the Met) the painting Ariadne, 1913 [Oil and graphite on canvas] by Giorgio de Chirico [official site in Italian] fell into view. Famously, Peter Saville borrowed one of de Chirico's works [The Evil Genius of a King] for the cover of Fac 103 Thieves Like Us. In his book, 'Designed by Peter Saville' he recalls, "Trevor (Key) and I had long wanted to do a metaphysical piece, and I decided Thieves Like Us would be the last piece of straight historical referentialism. 'It's called "Thieves Like Us", so let's just do it.'.

Another day, another museum: this time Frank Lloyd-Wright's 1950s masterpiece the Solomon R. Guggenheim museum. Towards the end of the 'Speaking With Hands' photography exhibition, there was a piece by Barbara Kruger who once designed a poster for The Perfect Kiss for New Order:

[from the Of Factory New York catalogue]
"The Perfect Kiss film poster, 1985
red, white & black
24 1/2" x 24 1/2"
Designed by Barbara Kruger"

Inevitably museums end in the shop and in the Guggenheim's there was a Lawrence Weiner book entitled 'Nach Alles / After All', which documents the exhibition of the same name at the Guggenheim in Berlin.

Thanks to OMNY for hospitality.

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Peter Saville colour wheel
A Certain Ratio

"Manchester, 1978. In the beginning there were four: Jez Kerr (bass), Martin Moscrop (guitar/trumpet), Peter Terrel (guitar/effects) and Simon Topping (vocals/trumpet). Four thin boys with a name borrowed from a Brian Eno record, the intense, drummerless quartet initially drew influence from Wire, Eno, the Velvets and Kraftwerk, and gained a manager in Anthony Wilson of Factory Records.

"May 1979 saw the release of their first ACR single, the dark All Night Party, although the sound and musicianship of the band would be transformed by the arrival of funky drummer Donald Johnson (DoJo) in August. Over the next few months the band gigged widely, often with Joy Division as part of Factory packages, and recorded demos with producer Martin Hannett as well as a Peel session. Their support slot with Talking Heads on their UK tour in December 1979 set David Byrne on a new course, and provided the compelling live half of their chic cassette package The Graveyard and the Ballroom. Post-punk, ACR now reflected the influence of Funkadelic, George Clinton, Bootsy Collins, The Bar Kays and James Brown."

- intro to ACR Biography by James Nice (LTM)

The Durutti Column