Category Archives: photography

2020 ➤ Beyond: Learning how to be black and gay and blaze a trail to the future

Shapersofthe80s, black issues, gay issues, film, Beyond, Claire Lawrie,

Beyond director Claire Lawrie, centre: with some of her garrulous cast answering questions after a screening at Central Saint Martins college. (Photo by Shapersofthe80s)

AFTER A STREAM OF EXCLUSIVE SCREENINGS for a poignant and edgy short documentary about growing up black and queer in Seventies Britain, everyone can now view it online. Titled Beyond “There is always a black issue Dear”, the 34-minute film explores black LGBT identities and the ways in which they have influenced the collective history of London’s alternative club, fashion, fine art, dance and music scenes. The cast of ten are long-standing friends of director/photographer Claire Lawrie who helps tell their personal stories when these fans of soul and disco, punks and Blitz Kids found each other’s company in underground clubs.

Over the past year Claire has won a fistful of film-festival awards and, prompted by the coronavirus lockdown, she has posted the full version online, and repeat viewings reward with deeper appreciation. Onetime Blitz Kid Andy Polaris is part of the project and he recalls its origins in this extract from his own website Apolarisview. . .

Black issues, gay issues, film, Beyond, Claire Lawrie,

Photo that inspired the movie Beyond – Click pic to view the film in another window

“To me it’s important now that people
realise that black people were there,
because a lot of the time they
tried to paint us out”
– Andy Polaris

❏ A 2013 exhibition at the V&A museum in London titled Club to Catwalk was instrumental in bringing the collective creative talent of Eighties fashion stalwarts and club luminaries together for a preview party that summer. It was a splendid event, one of the last memorable social events with such a vibrant successful crowd. Among the assembled were Judy Blame, Princess Julia, Andrew Logan, Zandra Rhodes, Body Map, Antony Price, Chris Sullivan and it was the last time I saw Steve Strange (who along with Rusty Egan) had brought us all together at the Blitz Club in 1979.

The visual artist Claire Lawrie was at the V&A and pondered on the omission from the exhibition of gay black talent whose influence had permeated Eighties club culture. Although Jeffrey Hinton’s brilliant cave of projected nightlife photography did feature some of us, Lawrie echoed some of her friends’ frustration that their experience was not reflected in the exhibition. She set about organising an open-call photograph to celebrate a contingent of black talent and arranged for the gathering to be filmed by her friends, Emile Kelly and Kim Mnguni. This was the genesis of something deeper and her award-winning documentary, Beyond “There is always a black issue Dear”, emerged from that event with her as director.

Click any pic of the interviewees to enlarge all in a slideshow

Over the next year Claire arranged interviews with ten of the candidates who were filmed on a shoestring. Contributions of archive footage were given by a long list of talented artists, people who, over the years had collaborated with and who wanted to show their respect and love for the cast. These included Pam Hogg, Dick Jewell, Dave Swindells and Nicola Tyson as well as John Maybury, Derek Ridgers, BodyMap, Devon Buchanon and Rankin.

The film adjusts the colour settings of the standard view of black creative lives when telling the story about club culture and its impact in the UK. Featuring ten black queer voices from the diaspora, born in the late Fifties and Sixties in the UK, Guyana and New York, the documentary delves into personal stories of discovery and eventual self-acceptance, looking back at struggles with identity and family and the wider world. The cast features stylist Frank Akinsete, transgender model Winn Austin, international model Roy Brown, make-up artist Kenny Campbell, choreographer Les Child, clubland pioneer Kenrick Davis and his mother Velma “Vee” Davis, nightclub host Nicky Green, gender-fluid performer Lanah Pellay, composer Robb Scott and myself as an original Blitz Kid turned pop singer.

Roy Brown, Black issues, gay issues, film, Beyond, Claire Lawrie

Roy Brown in 1985: poster boy for the Barbican’s recent exhibition on Masculinities. (Photo: Rotimi Fani-Kayode)

In the mid-Seventies and Eighties the UK’s attitudes to both race and gay issues were particularly brutal, endorsed by the anti-gay policies of Thatcher’s government and tabloid sensationalism regarding anything queer, especially later with the arrival of the Aids epidemic. The Seventies were marred by stereotypes of both marginalised groups, joining the sexist and misogynistic tropes in light entertainment and films which set the tone for how the world viewed us and how we viewed ourselves.

This lack of representation and role models forced us to create our own image during our teens, which in some cases was defiantly camp. Instead of allowing bullies to mock us, we accentuated certain behaviour, not just as a direct challenge to the heteronormative majority but against the conservative oppression in society.

Music and fashion were an escape from small-mindedness and even as early teens we were exploring alternatives and the fashionable disco and punk clubs were our laboratories of choice. . . / Continued at Apolarisview

➢ All about the making of Beyond “There is always
a black issue Dear”

➢ Interview with director Claire Lawrie: “These were
people that I looked up to and admired”

➢ On video – Beyond Q&A by RankinFilm after
the July 2019 screening at his studio

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➤ The makings of Scarlett, a perfect muse for the Eighties

DuoVision , Scarlett Woman, Photography, painting, sculpture, exhibition, Swinging Eighties, The Gallery Liverpool,

Scarlett Cannon at her preview: flanked by DuoVision curators James Lawler and Martin Green. (Photo © Melanie Smith)

WHICH ICON OF THE EIGHTIES catapulted herself to fame using a single name, sculpted hair and red lips? The clue is in the exhibition title just opened in Liverpool: Scarlett Woman. The Gallery in Stanhope Street is crammed with dozens of instantly recognisable images of her in all media – posters, prints, drawings, photos, videos, holograms, mosaics, sculpture and even painting. Fortunately the savviest interpreter of 80s style is at hand to make sense of the life and times of Scarlett Cannon, since she began fronting a club-night called Cha-Cha in 1981. In a guide to the exhibition, the lynchpin fashion editor Iain R Webb outlines how he promoted her career as model and muse.

He writes with intense concision: “It was a time of transformation and transgression, self-expression and collective empowerment. I was immediately taken by Scarlett’s uniqueness, an individual look being our club-kid rallying cry. With her startling peroxide blond haircut and a profile almost as flat as her reflection in the mirror she was magnificent!”

Scarlett says: “I wanted to look like a black and white photograph.” And Webb was happy to oblige, styling her in fashion spreads for BLITZ magazine. “She was an ideal made real, the perfect muse. We shared a common aim: to present our version of the world that celebrated difference and redefined beauty.” Scarlett, he reports, emerged from London’s demi-monde “artfully constructed from captured moments from yesteryear movies and imagined narratives. We made it up as we went along. . . Scarlett has always lived on the outskirts.” She adds: “It was extreme, we were really not afraid and we lived in a different world then.”

DuoVision , Scarlett Woman, The Gallery Liverpool,

Scarlett with Maude, alongside David Hiscock’s 1985 photograph, scarfed by Hermès. (Liverpool photo by Marc Albert)

Never before has there been such a perfect summary of the ingredients that made the Swinging Eighties unique, though Webb’s consummate book As Seen in Blitz: Fashioning ’80s Style came close in 2013. Coincidentally that was the year that Scarlett was visible across London as the poster girl for the V&A’s brave exhibition Club to Catwalk, a sharp retrospective nailing London fashion in the Eighties.

What’s impressive about the Liverpool retrospective mounted by the DuoVision team James Lawler and Martin Green is the number of artists whose work it embraces. . . Andrew Logan, Derek Jarman, Nick Knight, Robyn Beeche, Monica Curtin, Mark Lebon, Thomas Degen, Donald Urquhart, David Hiscock, Julian Kalinoswki, Sadie Lee, Judy Blame and others – most intriguingly the Polish expressionist painter Feliks Topolski, whose huge Punk Triptych makes a rare outing.

VIDEO TOUR BY MARK JORDAN

➢ Scarlett Woman runs until 15 September at The Gallery Liverpool, 41 Stanhope St, Liverpool, L8 5RE

➢ Gender-bending 1980s muse paints the town Scarlett – review in the Art Newspaper

➢ Previously at Shapers of the 80s: Scarlett from i-D cover girl to glamorous gardening mode

➢ Previously at Shapers of the 80s:
2013, Webb’s flipside of the 80s fashion revolution

DuoVision , Scarlett Woman, Photography, painting, sculpture, exhibition, Swinging Eighties, The Gallery Liverpool,

Scarlett Cannon with a slice of history: Feliks Topolski’s enormous Punk Triptych en route to Liverpool

REMEMBERING TOPOLSKI

➢ Feliks Topolski’s reputation reaches back to King George V’s silver jubilee while his monumental postwar mural of people and events called Topolski Century was unveiled by the Duke of Edinburgh and housed in the artist’s studio in the Hungerford Bridge arches beside the Festival Hall, where his legacy at Bar Topolski today is well worth a visit. His caricatures adorned the opening credits of John Freeman’s landmark series of TV interviews, Face to Face.

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2019 ➤ The nerve of Neil Matthews! Offering bunny ears to those oh-so cool Eighties pop stars

Photography, book launch, exhibition, pop music, Neil Mackenzie Matthews, Jealous Gallery, Take That,

Take That in 1993: cheering to camera for a Smash Hits shoot by Neil Matthews

ANOTHER FAB BOOK OF PHOTOS capturing mainly the 80s pop scene came out this week and it’s a bit of curio. We who were there know how British music and fashion utterly transformed youth culture during the decade from 1980 onwards and among the 110+ new acts who dominated the sales charts in the first four years probably the majority achieved international fame and fortune. But Neil Mackenzie Matthews, in his beautifully printed 192-page book, titled Snap: Music Photography, also reminds us of the names of many acts we have forgotten and who had limited success.

It has become a truism that soon after the Beat Route’s Friday club-night opened in Soho and Spandau Ballet entered the singles chart, both in November 1980, virtually every young guy you met in the club was “putting a band together”, usually managed by another young guy of his own age. For every 110 new-wave acts across the UK who won the standard one-album-and-two-singles deal from a grateful record industry which had lost its way, there were probably 1,000 more who didn’t – yet they too were a vital part of the great collaborative force that was helping to reshape entertainment and media in the Eighties.

At Thursday’s book launch in Shoreditch’s Jealous gallery, Neil described how his own good luck was in attending the same Islington school as the Spandau Ballet posse, Dame Alice Owen’s, and at the very moment he missed getting a first job at the BBC, Spandau invited him to St Tropez on their first foreign booking so he took a camera along and taught himself how to shoot.

Photography, Nick Heyward ,book launch, exhibition, pop music, Neil Mackenzie Matthews, Jealous Gallery,

Neil Matthews and Nick Heyward photo-bombed by Neal Whitmore of Sigue Sigue Sputnik. Just in shot at left, Heyward pictured in his woolly leggings period with Haircut One Hundred. (Photo by Shapersofthe80s)

Click any pic below to enlarge all in a slideshow

As luck had it, within months Tim Lott and Barry Cain’s chirpy new music magazine Flexipop decided its irreverent role was to prick the egos of their mates, the newly jumped-up pop stars, and Neil as its photographer was expected to rewrite the rules of the game. This appealed to his own wild ways and because he was invariably working against the clock, he injected a note of spontaneity into popstar shoots by inventing a box of larky props with which to confront his celebrity models and expect them to respond on camera. Result: pix of Toyah Willcox all smiles in floppy bunny ears, and Ian McCulloch contemptuously prodding the matching bunch of carrots after he declined to wear the bunny ears. There’s also Edwin Collins canoodling a rubber chicken and Jaz Coleman delivering a blunt message in a book to his rivals.

Impromptu set-ups catch Suggs at a fruit and veg stall on the street, Tim Burgess atop a packing case in Tesco’s, and Malcolm McLaren doing business on the phone. The book features several candid snaps following the rise of Spandau Ballet and the New Romantics including an exclusive of Steve Norman sporting speedos at home in the lounge between his fishtanks and Harry Dog. Neil offers very few live performance pix but the two best capture Little Richard bantering atop his piano and a fleeting glimpse of Nick Heyward closing his eyes in an Albert Hall performance.

Some of Neil’s best straight portraits take a traditional approach and yet clearly capture a shared moment of trust between subject and lensman: we see sexy candid shots of Madonna relaxed, of Betty Boo sultry in leopardskin and of Beyoncé Knowles as a very come-hither 17-year-old before she dropped the surname. For me the two cracking shots in this book show Take That snarling something worse than “Cheese!” at the camera (top), and Jay Aston of Bucks Fizz seated on the loo in her hotel (below). If that doesn’t testify to trust what does?

PS: Sorry, Neil, I have to reveal that I scooped you with the “first” kiss between Jon Moss and Boy George wearing Westwood a full year before Culture Club and your own shot where they both wear Sue Clowes.

Photography, book launch, exhibition, pop music, Neil Mackenzie Matthews, Jealous Gallery, Jay Aston

Jay Aston 1984: caught at her hotel by Neil Matthews

➢ Neil MacKenzie Matthews’ career went on to embrace fashion, international celebrity and advertising, but his book Snap: Music Photography (Red Planet, £30 in hardback) focusses essentially on the music scene

➢ Neil Mackenzie Matthews’ prints are visible online and for sale at the Jealous Gallery, 37 Curtain Road, EC2A 3PT

➢ View Neil’s wider portfolio at his own website

HEYWARD THE LEGEND BACK ON THE ROAD

Nick Heyward, live, Gibson Sunburst

Nick with his Gibson Sunburst 330, 1967

❏ One incidental pleasure at the gallery was to catch up with Nick Heyward for the first time since I snapped him with his sidekick Les as Wag club regulars a lifetime ago. Today he features in a daffy trio of Neil’s pix of Haircut One Hundred from 1982 and he’s as friendly and talkative as his ever-present smile suggests. He has been on the road this year with his UK Acoustic Tour, a series of intimate dates where audiences were treated to hits from his breezy and escapist seventh solo album, Woodland Echoes, plus others from his entire career. The album is a distinctly musical treat which Pop Matters reviewed as “a timeless, infectious gem”, adding: “He looks like that cool college professor all the students want to hang out with – and he seems to be at peace with his status as a 50-something indie pop legend”. More news at Nick’s own website .

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➤ A personal tale about the genius staring out from a painting expected to sell for £30m tonight

David Hockney, Henry Geldzahler, Christopher Scott, Photography, painting, auction, Christie's London,

Being auctioned tonight at Christie’s: Henry Geldzahler and Christopher Scott by David Hockney (1969, acrylic on canvas). Private collection. © David Hockney

THIS MESMERISING HUGE CANVAS TITLED Henry Geldzahler and Christopher Scott was painted by David Hockney in 1969 and is expected to sell at Christie’s tonight for at least £30million and today is the public’s last chance to view it until 4pm. It creates an intense dialogue between Hockney and his soulmate Henry, whose hairline is the picture’s vanishing point. By chance I got to know Henry in 1977, later stayed at his house in Greenwich Village and of course had to try-out the by then fabled pale mauve sofa pictured here.

We’d met during the best holiday of my life that summer at a house party hosted by the painter Teddy Millington-Drake at his vast 17th-century villa on Patmos, the Greek Island where St John had his apocalyptic Revelation. Two dozen guests, several with their kids, had arrived either like me on the weekly boat from Athens or on their own yachts (there were no direct flights to Patmos) for what proved to be a conclave of amusing, clever and influential movers and shakers from across the international art scene who utterly changed my understanding of life, the universe etcetera.

Henry himself, a three-in-one wit, wag and Svengali, undoubtedly changed the course of modern art by shifting its centre from Paris to New York, and affirmed the credibility of the term Pop Art. While only in his 30s he became the Metropolitan Museum’s first curator for 20th-century art and in 1969 mounted the landmark exhibition of 408 contemporary American works executed between 1940 and 1970 by artists he called “deflectors” of prevailing trends, such as Warhol, Gorky, Pollock, Rothko, Rauschenberg, Stella, Johns, Hopper. It was an immediate sensation. A new canon.

David Hockney, Henry Geldzahler, Christopher Scott, Irving Penn, Photography, painting, Andy Warhol

My photo of Henry Geldzahler in 1981: taking receipt of Irving Penn’s new portrait of him, in his NYC cultural commissioner’s office

I met Henry again in 1981 the very day he took receipt of a new portrait of him by photographer Irving Penn. I was in NYC that May during the First Blitz Invasion of the USA when I accompanied the 21 Blitz Kids who included the synth-led Spandau Ballet and Jon (Mole) Baker’s Axiom design collective who played a gig and staged a runway fashion show to introduce Manhattan to the new stars of Swinging London.

By then Henry had become New York’s first Commissioner of Cultural Affairs, appointed by the mayor Ed Koch. I visited his office at Columbus Circle and he played along when I suggested taking a souvenir snap so that my portrait of him cunningly captures him four times over: Henry in life reclining on his chaise, holding the Penn portrait, in the glass of which we see reflected the Warhol lithograph of him from 1979. Behind on an easel stands a further 1973 head-and-shoulders by Hockney (savagely cropped to maximise impact in this post).

Henry, who died in 1994, was described as the world’s “most powerful and controversial art curator”. He must also have been one of the most painted and photographed curators ever. “There are lots of pictures of Henry,” said Hockney. “He didn’t have many mirrors in his home. He knew what he looked like just by asking people to make portraits of him.”

David Hockney, Henry Geldzahler, Christopher Scott, art, painting,

Masterpiece of pictorial drama (detail): the central subject in Hockney’s painting of Geldzahler and Scott stares back, evaluating the painter’s every move. (My photo)

➢ Henry Geldzahler and Christopher Scott is Lot 8 in the sale An American Place: The Barney A. Ebsworth Collection at Christie’s London, 6 March 2019, from 7pm. Update: the painting went in three minutes flat for £33million.

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➤ Thanks, Steve, for my invitation to the Swinging 80s

Blitz Kids, New Romantics, Observer Music Magazine, Derek Ridgers,Spandau Ballet, Steve Dagger, Steve Strange, Tipping points,London, Media, Politics, Pop music, Swinging 80s,,

The Observer Music Magazine, Oct 4, 2009. Pictures © by Derek Ridgers

MARKING THE FOURTH ANNIVERSARY
OF STEVE STRANGE’S DEATH

WHEN MY PHONE RANG IN JANUARY 1980, little did I realise its message meant: “Put out the cat. You’re coming to the party of your life.” The voice on the other end spoke without pausing: “My name’s Steve Strange and I run a club called the Blitz on Tuesdays and I’m starting a cabaret night on Thursdays with a really great new band…. they combine synthesised dance music for the future with vocals akin to Sinatra, they’re called Spandau Ballet and they’re going to be really big. . .”

➢ Click through to continue reading Yours Truly’s eye-witness account of Spandau Ballet, the Blitz Kids and the birth of the New Romantics at The Observer Music Magazine

➢ Elsewhere at Shapers of the 80s:
The Invisible Hand of Shapersofthe80s draws a selective
timeline for the break-out year of 1980

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