It's a new year, and although still fighting against my own economic exile, I was given this book for Christmas - How Art Made Pop.
I'm interested in how artists studied at art college and then continued their career as pop / rock musicians after graduating.
This is of particular relevance to my practice, in refusing to do tons of work for little or no income as a powerful statement against exploitation.
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| John Lennon on Yoko Ono |
Fanzines are something I'm exploring via my Illustration practice, as the art side, and amateurs, try to exploit artists and illustrators, trying to make us create and produce editorial work for no money, when I so obviously need to earn a living.
I'm experimenting with the keytar when I can...
Interesting info from the Sheffield scene of the 1970's.
I've been observing the activities of Weird Garden, and the use of tape loops.
It's something I moved away from following Apparatjik work, as I wanted that piece to be far better than any amateur or DIY aesthetic, and I felt that the only people that were supporting my proposal were amateurs, not fellow art grads that had a similar practice to my own.
I couldn't do the collaborative work that I had aimed to, due to all the economic exile that has done nothing but increase since 2012 onwards, and I have no intention of returning to that at all.
However, I'm thinking a lot about Cindy Sherman, and how those who are interested in hearing my sound work will experience it.
I've thought of ways to "perform" it, and ways it would work as an installation.
I keep thinking of doing lengthy music videos that would require a lot of unpaid work that I would risk not being recompensed for, and I can't justify doing that at the moment without a record company to finance it.
And I don't even take it that seriously!
