➢➢ Shapers of the 80s ➣➣

➤ Elms the storyteller on why some stories are ‘too good to check’

Posted on 20 Mar 2019 | Leave a comment

Dalston, books, London, talks, Robert Elms, London Made Us, 5x15, slums, Canongate,

Robert Elms with fire in his belly: Talking last night in a 5×15 event at EartH (Evolutionary Arts Hackney). (Photo: Shapersofthe80s)

◼ SENTIMENTAL AS EVER, onetime Blitz Kid now broadcaster Robert Elms – the professional cockney not born within the sound of Bow Bells – marshalled his gorblimey vowels and glottal stops at a 5×15-minute live talk last night in Hackney, in trendy east London, to argue for a return to the down-at-heel west London he was born into 59 years ago. He invoked postwar bomb-sites as instructive playgrounds, the punk explosion as his most life-enhancing event, the squats in disused houses with freezing outside WCs that characterised his upbringing in Notting Hill and still more squats for fostering the creativity of his teenaged peers who dreamed up the New Romantics movement. . . He poured scorn on the developers who have transformed sectors of London into swish modernity and urged the need for new slums to teach flaky young millennials the facts of life.

Bob, once an amiable young man, has matured into an Angry Old Man yet the fire in his belly aimed to persuade us that deep-down he actually loves this contradictory city. An interview he gave to last month’s GQ signals the flavour of his new book, London Made Us: A Memoir of a Shape-Shifting City (from Canongate Books):

“What I certainly wasn’t hoping to do was out-Peter-Ackroyd Peter Ackroyd,” laughed Elms [referring to our capital city’s most distinguished historian]. What he did do – “because I’m not a proper historian and this is not a textbook” – was focus on the stories that seem too slight, or too fanciful, for the grander almanacs. “Some of them might not bear taking apart. My theory with all the stories in the book is: they’re too good to check” . . . Other sections are filled with incidents that are unique to Elms after decades living around London, from Burnt Oak to Holborn to Camden. There’s the incident when money rains from the sky near the soon-to-be British Library, or the story of the monkey jazz band in Notting Dale, “a troupe of 13 simian swingers to entertain the happy flappers” who escaped their captivity, some of them ending up as far away as Rugby…/ Continued at GQ online

Last night’s event was all about plugging new books. In Bob’s case it provided an excellent incentive to attend his next performance, much longer than 15 minutes on April 2.

➢ An Evening with Robert Elms at Waterstone’s in
Tottenham Court Road

➢ Nostalgic protest against the sanitisation of London – review by Nicholas Lezard in the Evening Standard

➢ Elms isn’t afraid of nostalgia in this part memoir, part cultural history. Is he pining for his youth? asks Fiona Sturges in the Guardian review

➢ Elms has written about one of London’s most successful,
and most forgotten, mass murderers: Interview with David Levesley from the March issue of GQ

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Posted in books, History, interviews, London, New Romantics, Reviews

Tagged 5x15, Blitz Kids, Canongate, cityscapes, EartH (Evolutionary Arts Hackney), Evening Standard, GQ magazine, Guardian, London Made Us, punk, Robert Elms, slums

2019 ➤ George Michael’s art for sale: funky, X-rated and naughty as you’d expect

Posted on 11 Mar 2019 | Leave a comment

Antony Gormley, Christie’s London, auction, art, George Michael, sex,

Visitor posing at Christie’s London beside George Michael backdrop – at right, Another Time III (2007), cast iron statue by Antony Gormley

◼ PARENTS BEWARE! The extraordinary exhibition of singer George Michael’s art collection currently showing in London would in any other medium be X-rated, yet at Christie’s the auctioneers it comes without any parental PG warning despite displaying images of rats copulating and a team game between naked men ejaculating. It delivers the highest genitalia count in auction-house memory: we see at least 40 penises, 27 vaginas and photographs of 108 positions of the “Karmasutra” enacted by a rubber-clad woman and a garden gnome. These are extraordinary counts for a show numbering 174 artworks. They go under the hammer this week in two auctions.

The penises, let’s hasten to add, are not George’s own. The biggest and probably most prestigious penis on show is attached to Lot No 1, cast in iron and belonging to Antony Gormley, Britain’s most respected living sculptor, famed for casting himself life-sized and naked, here under the title Another Time III (upper estimate £250,000). Another set of male genitalia is confected with typical bawdiness by Sarah Lucas from coiled wire, appropriately titled O Nob (est £25,000).

Other contributors to the penis count in Thursday’s prestigious evening sale include, inevitably, Gilbert & George, the Chapman brothers and Sam Taylor-Johnson, who are all trumped by a clutch of dildos in Tim Noble & Sue Webster’s Dirty Narcissus sculpture in silicone rubber.

Click any pic below to enlarge all in a slideshow

Marc Quinn, Christie’s London, auction, art, George Michael, sex,

Spherical Morphology (1997) – glass and silver, in 14 parts by Marc Quinn

Tim Noble & Sue Webster, Christie’s London, auction, art, George Michael, sex,

Dirty Narcissus (2007) in silicone rubber with projector, by Tim Noble & Sue Webster

Sarah Lucas, Christie’s London, auction, art, George Michael, sex,

O Nob (2007) – wood and wire by Sarah Lucas went on to realise £37,500

Jim Lambie, Christie’s London, auction, art, George Michael, sex,

Untitled (2008) – mirror, enamel and photographic print collage by Jim Lambie

Jeff Koons, Christie’s London, auction, art, George Michael, sex,

Balloon Dog (Blue) (2002) – porcelain, edition of 2,300 by Jeff Koons

Running simultaneously is Christie’s larger online auction which ends on Friday, where Tracey Emin is a major contender by offering many scribbled vaginas but is beaten hands-down by the artist named only as Linder, a Liverpudlian graphic designer known for her radical feminist photomontages, here offering a gallery of naked Pretty Girls.

Some would say George Michael’s collection of art reflects fairly his obsession with sex and death (the skull count is notable, too). In addition to a soundtrack of his music, the exhibition’s loudspeakers beam out audio clips of George freely eff-wording and describing his sexual proclivities at high volume in every gallery, all in the best possible taste, as Kenny Everett would have said.

By the time we’ve taken in the many shiny works of “art” involving much glitz and a lot of tat, The George Michael Collection must be one of the most tacky shows to have been hosted by a leading auctioneer for years.

Ouch! That sounds far too judgemental for the 21st century, doesn’t it? So let’s hear from his admirers, posted on the Christie’s website. The singer’s former partner Kenny Goss tells us that George started collecting art after meeting artists such as Damien Hirst, Tracey Emin, Marc Quinn and Michael Craig-Martin: “The art collection was part of him. The YBAs’ openness and honesty about life, death and sex were a huge part of his world.”

Sue Webster, who is well represented in the collection with collaborator Tim Noble, commented on the “sexual nature” of many of the works George Michael bought. “But it’s all got two sides to it, a darkness and a light – and George’s music worked on many levels like that, so I can see the attraction.”

Click any pic below to enlarge all in a slideshow

Gilbert & George , Christie’s London, auction, art, George Michael, sex,

Eight (2001) – hand-dyed gelatin silver prints (detail here), by Gilbert & George

Cerith Wyn Evans , Christie’s London, auction, art, George Michael, sex,

And if I don’t meet you no more. . . (2006) – neon by Cerith Wyn Evans

Olaf Martens,Christie’s London, auction, art, George Michael, sex,

Karmasutra, Rubber and Dwarf (2001) – c-print by Olaf Martens

Photographer Mary McCartney believes the collection is quintessentially George Michael in that it consists of art that’s impossible to ignore. “He was very impactful,” she says of the man who had 15 number-one singles in Britain and America, and sold 125 million records over the course of his career. “[The collection] shows a lot of his character; there are a lot of brave pieces with an opinion.”

The critic Andrew Graham-Dixon concludes: “Traditionally there’s a very strong connection between British pop and Brit art. When the YBAs first came to prominence they did so almost like rock stars.” He goes further by suggesting that Tate Modern would not have opened had it not been for the YBA generation. “They transformed British culture,” he insists. Much as George Michael did with his music.

So – there’s the other side of the coin. Tit for tat.

➢ Results for The George Michael Collection Evening Auction, from 7pm on March 14

UPDATE: THE LIVE SALE NOTCHES £9,264,000

Tracey Emin, Christie’s London, auction, art, George Michael,

Neon heart by Tracey Emin, 2007: after competitive bidding, it realised £374,250

❏ Many George Michael fans were clearly bidding all round the world from Singapore to New York during Thursday’s live televised auction at Christie’s London of 61 works from the singer’s art collection, so for some items the bids were brisk and keen.

Four prominent Brits raised the highest six-figure sums: two iconic Damien Hirst formaldehyde works realised £911,250 and £875,250, while paintings by Bridget Riley and Cecily Brown fetched £791,250 each and the Antony Gormley sculpture £431,250.

The surprise sensations of the show were two pieces by Tracey Emin: her acrylic abstract painting on canvas Hurricane (2007, size 72 x 72in) was estimated by the auctioneer at £120k-180k and actually realised £431,250. . . and Tracey’s neon heart containing the message George Loves Kenny (2007, size 42x42in) which was estimated to be worth £40k-60k, yet after a suspenseful round of bidding finally realised £347,250 !

Another sensation was Noble & Webster’s Excessive Sensual Indulgence (1999), a dazzling, flashing array of 312 coloured UFO reflector caps, lamps and holders, which was estimated at £30k-50k, but went on to fetch £237,500.

Closing the two-hour sale, the final lot by former Blitz Kid Cerith Wyn Evans also exceeded expectations. An elegant wall-hanging neon sign titled And if I don’t meet you no more… (2006) had been estimated at £10k-15k, yet went for £68,750. Proceeds are going to extend the singer’s philanthropic legacy.

PLUS £2MILLION MORE ONLINE

❏ Update – Proceeds from Friday’s online auction of 111 items totalled £2,045,375. Probably the most impressive sum raised was for Harland Miller’s oil on large canvas Penguin book cover, “Death, What’s in it for Me?” which realised £212,500. A superb Aubusson tapestry titled Pallidweave (one in an edition of three) by Rupert Norfolk went for the absolute bargain price of £15,000.

➢ Results for The George Michael Collection
Online Auction, March 8–15

➢ Virtual tour online of the George Michael exhibition at Christie’s

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Posted in art, auctions, collecting, exhibitions, Reviews, sexuality

Tagged Andrew Graham-Dixon, Antony Gormley, Bridget Riley, Cecily Brown, Cerith Wyn Evans, Chapman brothers, Christie’s London, Damien Hirst, genitalia, George Michael, Gilbert & George, Harland Miller, Jeff Koons, Jim Lambie, Kenny Goss, Linder, Marc Quinn, Mary McCartney, Olaf Martens, Rupert Norfolk, Sam Taylor-Johnson, Sarah Lucas, Sue Webster, Tim Noble, Tracey Emin

2019 ➤ Sounds of the 70s still cool in the heart of Soho

Posted on 7 Mar 2019 | Leave a comment

Eighties singer Andy Polaris was knocked back this month
to hear one cool track after another play out in a Soho eaterie
and he quickly synthesised a playlist from the dozen best
– here’s a taste from his website Apolarisview. . .

“ What’s unique about my dozen best tracks? Obviously they all formed the backbone of the funk and soul soundtrack to my teen years in the 1970s when I would hear them on the dancefloors of the Lacy Lady, Croc’s, Racquel’s, Gold Mine, and on Radio London’s Robbie Vincent show and on Capital Radio’s Greg Edwards session. What’s amazing is that only this month I heard some of them playing out at the newish if retro-styled Old Compton Brasserie as the most credible playlist in Soho that night. It reminded me of the pre-disco cocktail bars in Covent Garden which became our favourite haunts at the time.

Seventies jazz-funk in a millennial eaterie for an audience of all ages? You wonder how many ears present during this evening knew that every tune was a gem from the golden age of club music. The Brasserie’s funky dozen kicked off with Rufus feat. Chaka Khan Once You Get Started (1974) – The track that brought Chaka Khan to my attention in the UK. I was sent the vinyl import album Rufusized before its UK release. . . ” / Discover the whole playlist at Apolarisview>

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Posted in 1970s, Clubbing, dance music, funk, jazz, London, soul music

Tagged Andy Polaris, Chaka Khan, Croc’s, Gold Mine, Greg Edwards, Lacy Lady, Maxwell’s, Old Compton Brasserie, Racquel’s, Robbie Vincent

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

Posted on 6 Mar 2019 | Leave a comment

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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Posted in art, auctions, collecting, London, photography, sculpture, swinging 60s

Tagged Andy Warhol, Axiom design, Blitz Kids, Christie’s, Christopher Scott, David Hockney, Henry Geldzahler, Irving Penn, Jon Mole Baker, New York City, Spandau Ballet, Teddy Millington-Drake

➤ My own Rondo moment immortalised by Sullivan, the grand Wag of Soho

Posted on 23 Feb 2019 | Leave a comment

Immortalised on canvas: Chris Sullivan’s portrait of the face behind Shapersofthe80s

◼ ONE OF THE BRAVEST things I’ve ever done – apart from disagree with a newspaper editor – was to pose for my portrait, as mine is the kind of family who can’t boast even one ancestor committed to oil on canvas. So when Eighties uber-Wag Chris Sullivan offered to paint me in the style of one of his Latin band Blue Rondo’s wittily cubistic 12-inch record sleeves, I jumped at the chance to look like any of those cool guys on Me And Mr Sanchez in 1981.

So here I am [up top] and the result is strangely hypnotic, if not actually cubistic – “More vorticist than anything else,” says Chris, though we agreed perhaps closer to the audacious David Bomberg’s later work and that suits me down to the ground, a rebel 20th-century style that veers towards abstract and also hints at dynamism. Chris posted the portrait at Facebook and amazing numbers of people said he’d caught the eyes very well, and going by this photo that he took when he handed the canvas over to me last week, I am bound to agree!

Blue Rondo à la Turk, Chris Sullivan, artwork, sleeve,

The Sullivan style on a Blue Rondo sleeve from 1981, itself a convincing echo of Picasso’s Tres Musicos of 1921

How it came about was through his new book Rebel Rebel which comes out in May (after a gestation lasting about four years!). He invited friends to crowd-fund the project through Unbound Books and when I saw that the prize offered for the topmost pledge was a Rondo-esque portrait, I snapped it up (never forget Sullivan switched from fashion onto the fine-art course while at St Martin’s and turned out a lot of visual material right through the 1990s, quite apart from designing the dreamworld interior of his Wag Club in Soho).

We discussed all this and more when he asked me onto his Soho Radio show last month for nearly an hour and a half. Somewhere between Bowie’s TVC15 and Was Not Was’s Wheel Me Out, I dared to ask whether the approaching deadline for his book being published and finishing this portrait had provided a trigger for his recent return to painting and drawing. We’ve seen a sudden outpouring of witty caricatures of his friends in a mix of paint and pencil and ink flying around on the web. He almost agreed, saying: “It certainly got my chops together, put it that way. . . I’m not trying to be Rothko or Caravaggio, but I’ve always been a big fan of George Grosz and even Picasso did some caricatures.”

My A3-sized portrait is much more fully worked up in acrylic and crayon on canvas than Sullivan’s fun drawings on paper and even though he started chortling sarcastically when I said I’d wanted him to paint me not out of vanity but for love of Rondo, the fact is I’m chuffed to bits to own an image that makes a substantial statement about his talent. It certainly raises an eyebrow when friends come visiting.