Панк субмәдениетінің көркем өнері

Visual arts within the punk subculture

Punk visual art is artwork associated with the punk subculture and the No wave movement. It is prevalent in punk rock album covers, flyers for punk concerts and punk zines, but has also been prolific in other mediums, such as the visual arts, the performing arts, literature and cinema. Punk manifested itself "differently but consistently" in different cultural spheres. Punk also led to the birth of several movements: new wave, no wave, dark wave, industrial, hardcore, queercore, etc., which are sometimes showcased in art galleries and exhibition spaces.

Characteristics associated with punk visual art is the usage of black or gray colors, and letters cut out from newspapers and magazines: a device previously associated with Dada collage and kidnap ransom notes. A prominent example of that style is the cover of the Sex Pistols Never Mind the Bollocks album designed by Jamie Reid. Images and figures are also sometimes cut and pasted from magazines and newspapers to create collages, album covers and paste ups for posters that were often reproduced using copy machines.

In New York City in the mid 1970s, there was much overlap between the punk music and the No wave downtown art scene. In 1978, many of the visual artists who were regulars at Tier 3, CBGB and other punk related music venues participated in punk art exhibitions in New York. Early punk art exhibits included the Colab organized The Times Square Show (1980) and New York New Wave at PS1 (1981). Punk art found an ongoing home on the New York's lower east side with the establishment of several artist run galleries such as ABC No Rio, FUN Gallery, Civilian Warfare, Nature Morte and Gracie Mansion Gallery. The art critic Carlo McCormick reviewed numerous exhibitions from this time in the East Village Eye. In the early 1980s, New York was on the verge of bankruptcy; the punk protest of the mid 1970s was transformed into a new artistic sensibility. It is in this context that Richard Hambleton arrives in New York. Drawing on the most visceral aspects of punk, he created "urban art" with the aim of constructing real experiences that provoke sensations of fear. Drawing on the poetic terrorism conceptualized by the Situationist movement, the creation of over 450 life size black male figures in half lit doorways and on the walls of dilapidated Manhattan buildings sought to provoke fear in passersby. Hambleton worked in the middle of the night and was never caught red handed. His approach sought to confront preconceived notions of what art is and where it should be presented. "People expect to see balls in galleries (they do, sometimes). The work I do outside is somewhere between art and life,"