ABSTRACT

'Cultural productions' they appeared subversive in intent: all laudable credentials for any aspiring subculture. Punk-art, artistic Rocking, 'bad painting', right-wing enthusiasm for the 50s' epigones create hiatuses for differentiation and identification. These are frequently vague and fugitive. The art crisis of 1976 also initiated an entirely different approach to the problems identified by the various factions of the mainstream artworld. Punk fashioned a cultural posture even more uncompromising than coum's. In comparison to Throbbing Gristle, whose 'art' credentials remained conspicuous, Punk was decisively anti-art. The integration of the art, music and fashion scenes had also emerged in the neo-kitsch of Duggie Fields. In 1978, James Faure Walker obliquely suggested that Fields was dealing with the 'question of how to correlate style and function when both are in an indeterminate context, of how to make art without being preoccupied with the appearance of making art'.