Tag Archives: David Bowie

➤ V&A celebrates Steve Strange as the poser who put the pazazz into 80s nightlife

Blitz Kids, New Romantics, fashion, pop music, Swinging 80s, archive, nightlife, Steve Strange, Keith Lodwick, lunchtime lecture, V&A museum,

Giving this week’s V&A Lunchtime Lecture, May 2018: Curator Keith Lodwick in full flow. . . On-screen, Bowie’s Pierrot costume displayed in the V&A’s 2013 exhibition Bowie Is, with Steve Strange and other Blitz Kids pictured in Bowie’s Ashes to Ashes video in 1980

80S POP-STAR FRIENDS OF STEVE STRANGE turned out this week for a unique event at the V&A, the UK’s premier museum of art and design. The weekly Lunchtime Lecture was titled Steve Strange: From Blitz Club to Top of the Pops, and was delivered by Keith Lodwick, curator of Theatre and Screen Arts, to an audience that included singer Clare Grogan, ABC’s Martin Fry and his wife Julie, Jennie Matthias from The Belle Stars and Fifi Russell from Yip Yip Coyote. Steve’s mother Gillian Harrington and his sister Tanya had travelled from Wales with PR Amanda Lloyd to attend the occasion with other family members.

The talk traced Strange’s flamboyant life from Wigan Casino, through glam-rock and punk, to hosting a landmark club-night at Billy’s jointly with deejay Rusty Egan, then another at the Blitz in 1979–80. This was the club-night that Band Aid organiser Midge Ure has described as “the beating heart of the electronic dance music that led the 1980s.”

Strange said of his strict admissions policy on the door: “I wanted creative-minded pioneers who looked like a walking piece of art.” Indeed, the club became Strange’s own catwalk for sporting outrageous outfits by both the leading designers of the day and London’s budding fashion students. Lodwick said: “He once told a journalist ‘I am on stage 24 hours a day’. Steve, who died in 2015, remains one of the enduring figures of the New Romantic period.”

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Lodwick reminded us of the pop pantheon Strange was joining at the museum when he extended “a huge thank-you to Gill, Tanya and Amanda for being a link in the chain that enabled the V&A to acquire Steve’s archive and costumes two years ago. The family donated mainly clothes from the 2000s – including designs by Vivienne Westwood and Alexander McQueen. Steve’s costumes join those worn by Sandie Shaw, the Beatles, Mick Jagger, Marc Bolan, Jimmy Page, Elton John and Adam Ant.”

We watched two video clips which underlined Strange’s obsession with image-making: the music video for his band Visage’s hit Fade to Grey in which he is transformed into a snake; and a documentary in which milliner Stephen Jones suggests that berets he made for both Strange and for the Princess of Wales coupled them “as a fashion force together”.

Lodwick concluded: “Steve’s legacy will live on for being central to re-energising the club scene in London – pushing forward electronic music, fashion, photography and pop.”

➢ Elsewhere at Shapersofthe80s: Strange days, strange nights – first report on the Blitz from Yours Truly in 1980

➢ Elsewhere at Shapersofthe80s:
2015, Original Blitz Kids say farewell to Steve Strange – read exclusive tributes to the King of the Posers

➢ Read the story of Spandau Ballet, the Blitz Kids and the birth of the New Romantics at The Observer, by Yours Truly

Blitz Kids, New Romantics, fashion, pop music, Swinging 80s, archive, nightlife, Steve Strange, Keith Lodwick, lunchtime lecture, V&A museum,

At this week’s V&A talk: Some of the women in Steve Strange’s life. . . From the left, sister Tanya Harrington, Monica Towner, Rachelle Boyle, Eve Ferrett, Kimbo at centre next to Steve’s mum Gill, Jennie (Belle Stars) Matthias (almost hidden at back), Wendy Tiger, Alison Graham, Amanda Lloyd far right

➢ Talks, lectures, conversations and pop-up events at the V&A

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➤ Glimpses into the minds of Bowie and his photographer

David Bowie ,Barrie Wentzell,Lucy Bell gallery , photography, limited edition, rock music,exhibition, collecting

David Bowie shot in 1972: Six playful frames from the 20 on the 20×24-inch sheet by Barrie Wentzell / RockArchive in the Contacts exhibition


THE CONTACTS EXHIBITION shows off a unique collection of never before seen contact sheets by some of the world’s greatest music photographers. The contact sheet is the photographer’s first look at what they have captured on camera, printed directly from the negatives or roll of film in the era before digital. One sheet might contain 30 shots taken in succession and thus gives an intimate glimpse into a photographer’s working process and editing choices while also sharing candid moments when an off-guard star is caught larking about.

The exhibition makes a trip worthwhile to St Leonards on Sea in East Sussex where all the prints at the Lucy Bell gallery are for sale. We see enlarged contact sequences of David Bowie, Bob Dylan, Bob Marley, Oasis, Joy Division, Iggy Pop, Tom Waits taken by renowned photographers such as Jill Furmanovsky, Barrie Wentzell, Don Hunstein, Michael Putland, Carinthia West, Michael Putland, Andrew Catlin, Matt Anker, Colin N Purvor and Brian Duffy.

➢ Contacts runs at the Lucy Bell gallery in St Leonards on Sea until 29 May 2018

➢ Bob Marley, Björk and David Bowie as you’ve never seen them – reviewed by Sam Wolfson in The Guardian

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➤ How Bowie threaded blue notes through his final surge of creativity

David Bowie, The Last Five Years,TV,video, Sue,

Bowie as a projected image in the video for Sue (Or in a Season of Crime)

“If you feel safe in the area that you’re working in, you’re not working in the right area. Always go a little further into the water than you feel capable of. Go a little bit out of your depth and when you don’t feel that your feet are quite touching the bottom, you’re just about in the right place to do something exciting” – David Bowie

THE MOST GRIPPING SEQUENCES in the new TV documentary about Bowie’s final surge of creativity are those which assemble every musician in the bands he worked with from 2012 to the end. Each band re-enacts pivotal moments when they rehearsed the music, inspired by his lyrics, and laid down the tracks for the albums The Next Day and Blackstar. Particularly revealing is the session when pure jazz soloists created the nerve-tingling Sue (Or in a Season of Crime), which Bowie added to his 2014 “best-of” collection, Nothing Has Changed.

To mark the first anniversary of the star’s death, this weekend BBC2 screened David Bowie: The Last Five Years, Francis Whately’s sequel to his other superb documentary Five Years broadcast in 2013. The role of jazz in Bowie’s musical temperament seldom gets discussed, though his producer Tony Visconti says the jazz influence had always been there in the music but underneath the surface. As a small child Bowie heard a jazz band and right away said: “I’m going to learn the saxophone. When I grow up, I’m going to play in [this] band. So I persuaded my dad to get me a kind of a plastic saxophone on hire purchase.”

In 2013 in New York he met Maria Schneider, a jazz composer, handed her a demo disc and asked her to extemporise around a tune called Sue. In turn, she told him he had to listen to this sax player Donny McCaslin and without missing a beat Bowie went straight into the studio with his group and Maria and out came possibly the purest jazz number of his career, a discomfiting tale of infidelity. It won Schneider a Best Arrangement Grammy in 2016.

➢ Watch the Donny McCaslin Group working
on Bowie’s Blackstar

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REVIEWS OF THE LAST FIVE YEARS TV DOC

➢ A thrilling portrait of a late-life renaissance
– Jasper Rees at the Arts Desk

The opening yielded much joyful footage of Bowie goofing around on the Reality tour (2003), seeming much more like one of the boys than he ever managed with Tin Machine. The band still seemed spooked at the memory of his collapse, before he was carted off to retirement in an ambulance.

Maria Schneider was one of many musicians – three complete bands – who re-formed to walk through the creation of the music. Drummer Zachary Alford still looked shocked at the NDA handed him as he showed up to work on The Next Day. “If I said anything about it,” remembered bassist Gail Ann Dorsey, “I would be in big trouble legally.” Nobody was asked if Bowie really would have sued his collaborators for spilling the beans.

The recent collaborators reflected on the extent to which the new music was steeped in the past. But there was also good stuff from the old lags who worked (and sometimes slept) with Bowie in the feather-cut era: Ideally there would be a DVD with extras featuring much more from each of them. Chief keeper of the flame Tony Visconti sat at a console and played excerpts of Bowie’s unaccompanied vocal takes. On Blackstar came the haunting sound of Bowie wheezing like an ancient mariner fighting for every last scrap of breath. . . / Continued online

➢ A treat and a treatise on music’s departed genius
– by James Hall, Daily Telegraph

The Last Five Years wove previously unheard Bowie interview material with on-screen contributions from collaborators including producer Tony Visconti. The access and insights were faultless. Whately’s programme was essentially a treatise on artistic rebirth. And it showed that although Bowie’s musical style constantly changed, the themes that preoccupied him — alienation, escape, the notion of fame — were there until the end.

During his final creative burst, Bowie gradually revealed to collaborators that he was ill. In the most poignant scene, we learned that Bowie only discovered his cancer was terminal three months before he died. This was in October 2015 when he was filming the video for Lazarus, in which he sings the line “Look up here, I’m in heaven”. Bowie worked and cared and joked until the end. Through tears, Visconti said that he was at ‘the top of his game’. . . / Continued online

➢ David Bowie: What have we learned since his death? Some astounding new Bowie facts
have come to light – via The Guardian

70TH BIRTHDAY TRIBUTE CONCERT IN LONDON

tribute ,concert, David Bowie, Steve Norman, London

Brixton tribute concert for Bowie: Gail Ann Dorsey singing Young Americans with Spandau Ballet’s Steve Norman. (Photo: Getty)

❏ On what would have been Bowie’s 70th birthday his friend the actor Gary Oldman gathered at the Brixton Academy a 30-strong all-star lineup of musicians who had collaborated throughout his career, with some glorious orchestral and choral support. The show is the first in a run of gigs around the world taking place in cities that have a strong connection with Bowie and his work.

The London concert featured Mike Garson, Earl Slick, Adrian Belew, Mark Plati, Gerry Leonard, Sterling Campbell, Zachary Alford, Holly Palmer, Catherine Russell, plus such guests as Tony Hadley and Simon Lebon. Special highlights saw Gail Ann Dorsey singing Young Americans with Spandau’s Steve Norman on sax; and an audience singalong to Life on Mars? led by Adrian Belew and gifted vocals from Tom Chaplin from the band Keane. Plenty of live videos at YouTube.



➢ 10 Jan update: Gary Kemp joins his friend Robert Elms on BBC Radio London to discuss David Bowie, one year on. (Catch up on iPlayer for one month: starts at 13mins)

➢ Previously at Shapersofthe80s: “I’m not a rock star” Bowie often said – No, David, you were a messiah

➢ 13 Jan: Iggy Pop’s tribute to The Songs of David Bowie on BBC Radio 6 Music and iPlayer for another month

➢ As a confused teenager living in Seventies suburbia, singer Andy Polaris retraces his obsession with Bowie

➢ Commemorating Bowie at the BBC

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➤ Sotheby’s first David Bowie art auction raises twice the expected total sales figure

Frank Auerbach, Sotheby’s, Bowie/Collector, auction

At Sotheby’s Bowie/Collector auction tonight: the pop star’s favourite painting, Frank Auerbach’s portrait Head of Gerda Boehm, eventually went for went for £3.35m. (Screengrab from Sotheby’s live webcast)

PART 1 OF THE BOWIE/COLLECTOR SALE saw its 47 modern and contemporary artworks raise £24m tonight – just over twice the total of top prices estimated by Sotheby’s the auctioneer in advance. So the “Bowie premium” added to market prices for the privilege of owning a memento of the pop icon’s personal collection averaged 105% (with wild extremes either side).

Bowie/Collector, Sothebys, Frank Auerbach

Bowie’s inspiration: Auerbach’s Head of Gerda Boehm (Sotheby)

Most suspenseful bidding came for Bowie’s favourite painting, the Frank Auerbach portrait that the pop star said set his mood every day when he rose: Head of Gerda Boehm was estimated at best to sell for £500k but eventually went for £3.35m when a new bidder popped up at the £2m mark and staged a fight to the end.

As might have been expected, two Jean-Michel Basquiat works went for roughly two-thirds more than best estimates – £2m for an Untitled collage and £6.2m for his large acrylic Air Power. The final lot, a Damien Hirst spin painting on which Bowie collaborated, sold for £625k (top estimate £350k). Hirst’s other work, Untitled Fish For David, 1995, sold for £150k (top estimate £60,000).

Sadly the handful of works that didn’t even reach their low estimates included an exquisite Wyndham Lewis collage, a Paolozzi bronze, a rich Picabia portrait in oil, and a Bomberg townscape in oil. Among many moments of high-speed amusement that enlivened the event was the auctioneer’s unique pronunciation of Lytton Strachey’s name, which suggested this was the first time he’d come across it.

➢ Two more sales of 300 artworks owned by Bowie continue at Sotheby’s London through Friday, live online

➢ Previously at Shapersofthe80s: Bowie’s passionate eye for art proves to be not bad at all

➢ Previously at Shapersofthe80s: Bowie’s taste in art: respectable, with bargains to be had at Sotheby’s auction

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➤ Bowie’s taste in art: respectable, with bargains to be had at Sotheby’s auction

Damien Hirst, David Bowie, Sotheby's, auction, contemporary art,

Damien Hirst, Untitled Fish For David, 1995, est £40,000–60,000 – From the Young British Artist who preserved an adult tiger shark in a giant tank, this gift from Damien Hirst to David Bowie contains a tiny 2-inch fish in formaldehyde, as “a profound inquiry into human existence”. Here displayed at Sotheby’s London, reflecting and refracting other art in the saleroom. (Photography © Shapersofthe80s)

BEFORE THE AUCTION OF DAVID BOWIE’S ART at Sotheby’s, treat yourself to the free exhibition of 350 works owned by the pop star who died this year. His eclectic taste embraces pop art, Damien Hirst, German expressionism, Tintoretto, Surrealism, Contemporary African, a chess set by Man Ray, a couple of Duchamps, and much primary coloured contemporary furniture from Italy’s Memphis Group (which occupies much of Part 3 of the sale, dedicated to Design). The auction represents about half of Bowie’s entire art collection which he admitted to buying obsessively over 30 years. The evidence is that he had a sharp eye.

What’s surprising is the number of eminently collectable smaller items being offered at affordable prices which are bound to attract first-timers to next week’s three sales – all offering online bidding. Painted tabletop sculptures in aluminium by Ivor Abrahams are priced at a few hundred pounds, his bronze sculptures at perhaps £1,500. Ceramic plates decorated by Picasso and Cocteau are priced at just over a thousand and there’s even Sir Stanley Spencer’s artist’s palette for £2,000. Having toured the Bowie exhibition highlights to New York, Los Angeles and Hong Kong, Sotheby’s is geared up for long-distance bidding.

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The full set now on display makes an engaging and mischievous show, crammed with paintings and sculpture that may not be masterpieces, as the BBC’s arts editor Will Gompertz has noted [video below], but by and large represent good examples from highly regarded artists. In light of which, many of Sotheby’s estimated starting prices seem temptingly low.

Frances Christie, head of its Modern & Post-War British Art Department, explained why they have to apply prevailing market prices: “It’s hard to quantify what the ‘Bowie effect’ might be. We have to take into account market precedents, so for example, the world record for Peter Lanyon’s work is £370k. The Lanyon painting Trevalgan in the sale is not as well known so we have priced it at about £250k, which I think is fair. The range of our estimates can only be a guide.”

“David was like a child, childish and childlike
when he came to see me in the studio and we made
a giant spin painting together” – Damien Hirst

Frances is pleased that as a collector Bowie favoured 20th-century British modernists and, with some prices starting in the low thousands, this sale might help spread the word abroad for names such as Gill, Wadsworth, Bomberg, Minton, Nevinson, Wyndham Lewis, Hitchens, Tunnard, Armitage, Chadwick, Kossoff, not forgetting Moore, Sutherland, Auerbach and Scott.

Gompertz remarked: “Bowie’s taste appears to have been fairly conservative but very specific. He liked the art that came from the same place as him: mid-20th-century UK. It is art that you could argue shared his philosophy, a philosophy that went on to shape his aesthetic. It is art that questioned, that was preoccupied with the surface, that had many sides; that never quite settled. Art that performed.”

Just totting up the top estimates for the 47 Modern and Contemporary works in Part 1 of Sotheby’s sale – which stars Francis Picabia, Damien Hirst, Patrick Caulfield and Jean-Michel Basquiat – could yield £11.6million. How the “Bowie premium” might inflate these auctioneer’s estimated prices is what promises to keep us on our toes throughout Thursday and Friday.

painting, David Bowie, Sotheby's, auction, contemporary art, Memphis Group, Paul Feiler

Bowie/Collector in a nutshell: Paul Feiler, Horizontal Blue + Sienna, 1960, oil on board, est £30,000–50,000. Right, painting by Ian McKever (est £3k), plus bronzes by Denis Mitchell (est from £5k), Memphis table by Sottsass (est £3k)

➢ The Bowie/Collector exhibition is free, unticketed and open to all at Sotheby’s, Bond Street, until noon on Thursday 10 Nov, 2016

➢ Potential buyers must register in advance for the three auctions. All offer ticketed admission to the saleroom, online bidding (BIDnow), absentee bidding or telephone bidding. Incidentally, the web catalogue contains much extra information about selected works, as well as condition reports for all.

➢ BBC arts editor Will Gompertz appraises David Bowie’s taste in art

➢ On video – Working with Bowie: an insight into an incredible mind, by his curators

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