London College of Communication (UAL)
(20 March 2024)
I.
Held at the London College of Communication - one of six colleges that make up the University of the Arts London - the Torn Edges symposium explored the relationship between punk, art, and design history [1].
An international body of researchers, in what is said to be a "relatively new and emerging field within the broader theme of punk scholarship", gave short papers and took audience questions and it soon became clear that punk studies "have moved beyond relatively limited histories of the early scene in New
York or London to reflect a much deeper critical analysis of punk
music, fashion, politics, philosophy and aesthetics around the globe
over a period of more than fifty years" [2].
II.
The question which arises, however, is this: Is that a good thing?
Because some might argue that the spirit of punk is exorcised in three ways: (i) it is commodified by capital; (ii) it is Disneyfied by the media; (iii) it is intellectualised by academics.
In other words, punk is made profitable, made safe, and absorbed into a seamless cultural history. Any rough or torn edges are thereby given a smooth finish (or de-deckled, if such a word exists).
One of the speakers at Torn Edges - Marie Arleth Skov - addresses this concern about punk ending up in the universities, galleries, and museums in an online conversation with James Campbell of Intellect Books [3].
Asked about the importance of ensuring that punk is properly archived, Skov says it is crucial; that we're at the stage now where materials currently held by private individuals need to be preserved and made accessible to a wider public within an institutional framework, before those individuals snuff it and the materials are lost.
In other words, old punk rockers (like me) need to overcome their fear of institutionalism and mutualisation and accept that the museums, galleries, and universities actually represent the best (and maybe the only) chance that something of the original punk spirit can survive, in a way that doesn't happen when punk is co-opted by big business or turned into a Disney+ miniseries by Danny Boyle [4].
Thus, resistance to this Borg-like process of being archived may or may not be futile, but it's almost certainly mistaken. Ultimately, punk needs those like Marie Arleth Skov and Russ Bestley working in academia and/or the art world who care passionately about subcultures and countercultural phenomena.
God Save the PSN!
Notes
[1] Full details of the event and speakers can be found on the Eventbrite website: click here.
[2] I'm quoting from the Torn Edges programme, which, I'm guessing, was written by Dr Russ Bestley who organised the event and is (amongst many other things) a founding member of the Punk Scholars Network.
[3] Marie Arleth Skov is a Danish-born art historian and curator based in Berlin. She is the author of Punk Art History: Artworks from the
European No Future Generation (Intellect Books, 2023) and the chair of the
Punk Scholars Network in Germany. She is currently researching for an exhibition at ARoS art museum in
Denmark on the topic of the body in punk culture.
James Campbell is a lecturer in education at Deakin University, Australia. He is also Head of Marketing and Sales at Intellect Books.
The 35 minute interview between Campbell and Skov conducted last autumn is available to watch on YouTube: click here. Arleth's thoughts on the need to archive punk begin at 24:58.
[4] For my thoughts on Danny Boyle's Pistol (2022) see the posts entitled 'The Great Rock 'n' Roll Castration' (30 March 2021): and 'Can Anyone Be a Sex Pistol?' (31 March 2021).
