Malcolm McLaren & Vivienne Westwood’s “Anarchy Shirt” will be on exhibit at Art in Pop
“… an extraordinary package of compressed content”
(See also: Package-Shaped Compressed T-Shirts)
3 members of “The Foot Notes” playing guitars: John Miller, Randy Ludacer & JD King (1976 – 1977?)
It’s because of John Miller that I have a piece in this exhibit…
“John Miller, who was born in 1954 in Cleveland, and lives and works in New York and Berlin. His protean oeuvre (photographs, paintings, sculptures, videos), enlightened by his prolific production of critical texts, has ever questioned the values of our societies, both in the global societal sphere and in the more specific realms of media and art.
His exhibition room will present an ensemble of documents retracing his musical career… Since studying at the Rhode Island Art School, he has been the member and occasionally the founder of diverse groups…”
The first of these musical groups was “The Foot Notes,” a loose confederation of members with divergent musical agendas.
A one-hit-wonder? Not even close. The Foot Notes never recorded or released any music, whatsoever.
l to r: Bowes, (Bill Komoski & Sy Ross—cool, but not Foot Notes), Miller, me, Bloom (back to the camera) & JD King
The artwork I was invited to exhibit for Art in Pop, was one that Miller had remembered — a student work: Black Acoustical Tile. If it no longer existed, I was invited to recreate it.
Cracks me up that I (a failed artist/musician) have somehow wound up included among luminaries who have had actual careers. Still, it’s heady stuff to be remembered. Even as a footnote.
Next post: The Black Acoustical Tile
(Some footnotes about The Foot Notes, after the fold…)
1. Three out of seven “Foot Notes” went on to stay for a time at the Latham Hotel. (See: Hollow Nickels & Roach Motels)
2. In Miller’s recollection, David Bowes was “the leader” of The Foot Notes, but I remember it differently. To me, Michael Bloom seemed to be much more at the helm. The most technically proficient of any of us as musicians, certainly, and more experienced.
It’s interesting to note that, as a rock critic who reviewed music for Rolling Stone, Boston Phoenix, etc., Bloom is on record praising and panning the work of certain participants in the Art in Pop exhibit.
“My elevator-pitch speech on Beefheart is, he’s giving you a cubist take on the blues. The same way that Picasso and Braque were showing you five different views of the same image at the same time, Beefheart and the Magic Band are playing five different blues tunes in counterpoint.”
But panned Suicide’s first record (Alan Vega’s band):
“I’ve heard stolen riffs before, but this is far worse: rapine and pillage of entire concepts … Suicide’s songs are absolutely puerile, and Alan Vega’s vocal convey nothing but arrogance and wholesale insensibility… persistence doesn’t legitimize this kind of idiocy.” (Rolling Stone, 3/9/78)