17 Nov 2007
No Crazy Cowboys? 
Cerysmatic is pleased to confirm that the new Lawrence Weiner exhibition 'AS FAR AS THE EYE CAN SEE' at the Whitney Museum of American Art, in New York, NY includes at least some of his work for Factory Records, namely the posters he did for Section 25 at The Ritz and New Order at Paradise Garage.

We await confirmation of the presence of his sleeve for Thick Pigeon's Too Crazy Cowboys.

Check the visual evidence in the first photo in this review in the New York Times (be sure to also check the slideshow in the multimedia sidebar).

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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