Martin Sharp
Oz
Late 1963 or early 1964 met Martin Richard Neville, editor of the University of NSW student newspaper Tharunka and Richard Walsh, Editor Sydney University counterpart Honi Soit. Both wanted to publish her own "magazine of dissent", and she asked Sharp and Shead to be participants. The Magazine called Oz. From 1963 to 1965 Martin was its art director and an important contribution.
Sydney Oz to the streets on April Fool's Day 1963rd His irreverent attitude was in the tradition of student newspapers, but it develops satirical and timely reporting of local and national issues and people, a national profile, and made it a Aim for "the establishment", and soon a prominent victim of the so-called "censorship wars".
Martin held his first one-man exhibition at the Gallery Clune in Sydney, Australia in 1965. "Art for Mart's Sake" almost sold on the opening. One of the paintings showed in Shead's James Bond Parody Blunderball was featured in the same year.
During the life of the Australian Oz Sharp, Neville and Walsh were charged twice with printing an obscene publication. The first trial was relatively small, and would have a non-event, but they were badly advised and pleaded guilty, which resulted in their convictions recorded. As Result, when combined with obscenity a second time were calculated, their previous convictions meant that the new charges were significantly more severe.
The Charges on two points concentrated in the early editions of Oz – one was Sharp's hefty poem "The Word Flashed around the arms," the contemporary habits of young people Gatecrashing parties satirical, insulting the other point is the famous picture (on the cover of Oz # 6) is used, the Neville and two friends pretending in a sculptural Tom Bass wall fountain, set in the wall of the new P & O office urinate presented in Sydney, which was recently opened by Prime Minister Robert Menzies.
Sharp, Neville and Walsh were indicted, convicted and sentenced to prison terms. Their convictions caused a public outcry and they were subsequently appeal acquitted, but the so-called "three Oz" realizes that it is fighting little future as a strong opposition.
London
In 1966 Martin published a selection of cartoons in the book Martin Sharp cartoon. "Swinging London" was the mecca for young artists, writers and musicians, and after the Oz-studies, Sharp and Neville needs little encouragement to leave Australia. They moved to an Overland trek through Asia, in Kathmandu parting company and make their own way to London.
Upon arrival, Sharp remained for a short time with Neville's sister, the novelist Jill Neville in Knightsbridge. It was at this time that he celebrated musicians in the London nightclub was introduced, the Speakeasy. During the evening, Sharp said of the musicians to a poem he had written recently, the musicians said Martin again, that they are looking for a lyric for some new music he had just written. Sharp wrote courteous from the poem and his address on a napkin and gave it to his new acquaintances.
The musician turned out to be renowned guitarist Eric Clapton. The song that resulted from the meeting, "Tales Of Brave Ulysses" was as a B-side of Cream's smash hit "Strange Brew" and was recorded on the second album Disraeli Gears by Cream included. His friendship with LED Clapton to the Commission knew about the famous "Design dayglo 'psychedelic collage cover for the album, painted the pictures of Sharp's friend Robert Whitaker, the Sharp from Australia and its Studio has been included in the same building where Sharp lived.
The following year, the spectacular Sharp folding cover for the third album by Cream, the double-LP set designed Wheels of Fire (1968), for which he won the New York Art Directors Award for best album design in 1969. He also designed the cover for the eponymous debut LP designed London Underground legends Mighty Baby (1969).
The Pheasant
Sharp's cover for the album Disraeli Gears
Not long after his meeting with Clapton, Martin moved into the pheasant at 152 Kings Road, Chelsea, an historic Georgian building. As the name suggests, the place was originally used to pheasants increase for the royal household. In the early 1900s it was the home of Eleanor Thornton, the favorite model of the painter and sculptor Charles Sykes. Thornton believed , is most famous work was the model for Sykes' have mascots his Rolls Royce Spirit of Ecstasy.
In the 1920s and 1930s, it housed the studio of famous dance teacher Astafieva Serafina, which trained several Diaghilev's Ballets Russes, the dancers and prima ballerinas Alicia Markova taught and Margot Fonteyn. With time Sharp moved there, the pheasant a well-known "artists colony", rented out its rooms as apartments and residential studio. The basement also a nightclub accommodated in the operation in the 1970s. The pheasant nightclub was the venue for early UK concerts by Lou Reed, Queen and Hawkwind, among others, and was the Place where the singer Yvonne Elliman by Andrew Lloyd Webber and Tim Rice discovered, to their role in the original soundtrack recording of Jesus Christ Superstar. The pheasant farm houses current homes, shops and a pizza, the restaurant has kept Madame Astafieva's mirrors and practice Barre as a feature on the first floor.
Sharp shared this remarkable Domicile with some notable people including Eric Clapton (Who Moved in not long after Sharp), Germaine Greer, filmmaker Philippe Mora, artist Tim Whidborne, prominent London "identity" David Litvinoff (later as a consultant on the production of Nicolas Roeg's Performance), writer Anthony Haden-Guest (Author The Last Party: Studio 54, Disco, and the culture of the night) and friend Robert Martin Whitaker, photographer of choice for many leading groups on the rock scene, including The Beatles. Whitaker was already notorious for the controversial "butcher" photo on the original cover of the Beatles album "Yesterday and Today used.
Many years later, Sharp recalled the story of his meeting with Clapton:
"I visited the Speakeasy Club in London on an evening (1967). I saw a girl I knew, Charlotte, who sat at a table with two young men I did not know. But I have asked if I could join them, and I was warmly welcome. I remember that there is a controversy over an article that had appeared in the idealistic about the assassination of President Kennedy. I gathered, that the young men were musicians, and when I just a poem I'm writing a good song, I would mention this fact, and said one of the musicians, he had only written some music. In Grand show business tradition, I wrote the text on a paper napkin and gave it to him with my address. I was in a studio off the Kings Road Chelsea with the photographer, Bob Whitaker, at the time. I was pleasantly surprised when the musicians, as it turned out, Eric Clapton, who arrived in the studio with a 45 rpm record with "Strange Brew" on the A-side and my song, "Tales Of Brave Ulysses" on the B-side. "" Shortly after I moved to a nearby studio in 'The Pheasant', Kings Road, Chelsea, and need someone to share, I asked my new friend if he would be sure to share the space and experience. Chelsea was a very exciting place to live and Eric agreed. (Found David Litvinoff, a well known and extraordinary character in music and art world, the studio had.) It was a perfect place to work and live. Charlotte eventually moved in with Eric. Later we were joined by my girlfriend, Eija, and a young friend from Melbourne, painter and filmmaker Philippe Mora, and his girlfriend, Freya. David Litvinoff worked Tim Whidborne 'studio on the ground floor … Anthony Haden-Guest had a flat there … Germaine Greer wrote "The Female Eunuch" is in a room … there were photo studios … It was a very special and creative building … It was called "The Pheasant" because in the old days the country for breeding pheasants for the King's table had been used. "Eric asked me to design the cover for" Disraeli Gears ". I loved record cover art and was very happy to do it. I asked to take my ex-studio mate, Bob Whitaker, a few photos that were used in a collage on the back. I think the photo on the cover was a shot, publicity I got from Eric. I was with fluorescent colors at the time. It was the height of psychedelia. "Some the ingredients in the lid are made of Victorian decorative engravings. It was done in black and white and painted with fluorescent colors only. I tried the warm and joyful to capture life Cream songs. I later went on the cover of "Wheels Of Fire Design" for cream and also for Ginger Baker's "Airforce" a band called Mighty Baby … Jeannie Lewis' "free-fall through spring loose Flight" and a few of my own versions of Tiny Tim, "Chameleon" "Keeping My Troubles To Myself" and "The World Non-Stop Singing Record." "In the basement of the pheasant was a club with the same name and often the sleep was disturbed by the R & B bass … so I was through listening to react many old songs that had been re-released. Al Jolson, Al Bowly … the dance bands of the war years and earlier. Bill "Bojangles" Robinson, and "Hutch" (Leslie Hutchinson). Eric had seen Tiny Tim perform at the scene in New York City and to know, I loved the old songs, which he urged me to go and see Tiny in his first London performance at the Royal Albert Hall. I'd never heard of Tiny before and I was totally amazed by his extraordinary, joyful personality and his absolute rule over the whole language of the folk song. I felt I would like to work with him, but thought he was destined for the heights of fame. I never felt the opportunity would arise. Over twenty years later had I write this article on letterhead from the film "Street of Dreams" I have to do with Tiny in the last 12 years, thought of the hundreds of songs and conversations, I have taken with him over the years. Such was my introduction to the world of popular song. "The meeting of the musicians and artists directly without intermediaries, be and has always and will be fruitful. Such was the goodwill that existed in London in the late '60 's that a painter from Australia could make a great musician from England and informally him some lyrics that would be a song, a friendship, a career with Tiny Tim, and a record cover. "
Freed from the constraints 9:00 to 5:00 working thanks to a timely inheritance from an aunt, Sharp found himself at the center of the counter-cultural life in London and the underground scene and has quickly one of the leading lights. When Richard Neville arrived in London in September, and he and Sharp joined forces with Felix Dennis and jointly established London Oz, who was soon to even more controversial than its Australian parent company. Sharp was its art director and Chief Cartoonist.
This time in London and his work with Oz brought him international fame. In addition to his Oz work of art and its famous album covers for cream, he produced posters of famous musiciansob Dylan, Donovan and his classic "exploding" Jimi Hendrix poster, based on a photo of Linda McCartney. These and other works such as the poster for the "Legalise Pot" rally are Keynote graphic works from the period and Originals are now highly prized collector's items.
Solo Projects
In 1969, Sharp has his second solo exhibition at the Sigi Krauss Gallery. Under the title "Sharp Martin and his Silver Scissors "It featured collages based on famous works of art. He returned to Australia later that year, taking up residence in the old Clune Galleries. Thelma Clune, the director, had decided to sell the building, but there was no rush to sell, and, under the watchful eye of the mutual friend "Charlie" Brown, Sharp presented his first exhibition after his return.
This was from The Incredible Shrinking exhibition that includes photographs of the first show was reissued in small gem-like mirror frames. These two exhibitions laid the foundation for the famous Yellow House project from 1970 to 1971. The house was a unique multimedia room, an artificial environment in which every room was a whole piece of art. The Yellow House was open 24 hours a day and had thousands of visitors 1971-1973, when it closed.
Return to London in 1972, Martin continued his interest with the idea of appropriation. He created "Art Book", another mini-production, about 5 "x 6" in the Size 36 Color and the integration collages cut from the pages of glossy art books, the pooling of work in individual images from Magritte and Van Gogh, Matisse and Magritte, Picasso and Botticelli with occasional overlays of Van Gogh on Van Gogh, Van Gogh on Botticelli, and Vermeer Vermeer on.
"I have never, so here had to cut things if I had a good idea. For me it was worth the price of a book for the idea, put it, the interconnection of several worlds. I could be a player in a Gauguin Van Gogh landscape set to make the composition work and also something about their relationship. "
Distributed in the United Kingdom, France and Italy in 1972, "art book" was released in Australia in 1973, with Sharp to return to Australia and meet his "art exhibition" in the Bonython Gallery, Sydney. The previous collage images were presented as a completed painting, then again in their original medium. Expand viewer participation, work, Self Portrait was just a mirror, decorated in a gold frame, while other more iconicised working a canvas, cheap reproduction of the Mona Lisa was in a well ornate gold frame, the right dish.
During the mid-seventies, Martin was probably best known in Australia for his work with the Nimrod Theatre, for which he produced his famous series of posters, as well as the design of many sets, costumes and stage plays. His famous posters Nimrod (Now Collectors are estimated) its iconic poster for the Young plays Mo, The Venetian Twins and Kold Comfort coffee. Sharp's rendering of "Mo" Face became the symbol of Nimrod Theatre, and one of his most famous images. In that time he has also designed the classic cover for Jeannie Lewis' debut album for free Case by springless Flight (1974).
Martin has designed at least two posters for contemporary Australian Premier circus, Circus Oz, including the iconic "World Famous" / "Non-Stop Energy" design.
Later interests
For most of the 1970s and beyond was the work of Sharp and lives of two great interestsydney's Luna Park (across the water from the house in Bellevue Hill Sharp) dominated – and Tiny Tim.
Luna Park
Luna Park proved a bittersweet experience. Sharp was engaged to be renovated as a designer and artist for the restoration of Luna Park, including a commission to monitor the enormous smiley face at the entrance. This long Commission had all the ingredients Pop Artostalgia, huge sculptures, powerful images, wonderful paintings by Arthur Barton along with bright colors and lightsnd was entirely appropriate given the deep grounding Sharp's in this era of Australian graphic (eg Fatty Finn).
In 1978, he and fellow artist / Participated designer Richard desirable village (who had in the reconstruction of the Luna Park, also an avid collector of memorabilia), lent their combined collection of hundreds of fair, circus, Luna Park and Sideshow Artifacts coincide on the Art Gallery of NSW with the Festival of Sydney.
Only a year later, a fire at Luna Park Ghost Train tragedy claimed seven lives and destroyed any chance of renewal for the restored park Sharp work, the face was ruined, and the park under the slogan "Just for Fun" its meaning is lost.
Like many others, Sharp is convinced that the fire was a deliberate act of terrorism to destroy the park and establishing alternative Interests seeking. As the "disappearance" of anti-development activist Juanita Nielsen in 1975, the reason for the arson attack was not hard to see. Luna Park, the Situated along the northern foothills of the port, near the northwest tower of the Sydney Harbour Bridge, made it a prize of inestimable value to developers.
Along with several other artist friends and sympathetic supporters Sharp was instrumental in the formation of the Friends of Luna Park in an effort to lobby the State Government and stood Sydneysiders remember what they lose when the park was lost. Sharp Painting Snow Job is a painful reminder of his feelings on the matter, and if it had not been for the efforts of Sharp and his friends, so Sydney had an important part of her character have lost.
Tiny Tim
In addition to Van Gogh Tiny Tim has been one of the greatest inspirations Sharp since the 1970s.
"Tim's appropriation of the song is very much like my appropriation of images. We are both collagists, where elements of different epochs and mixing them to discover new relationships. "
Sharp's Tiny Tim esteem manifests itself in many Respects, including the introduction of the production, costume design. He created a five-meter painting hangs today in the Macquarie University, painted during the middle seventies with Tim Lewis. His Tiny Tim Opera House concert poster is a type of his most memorable and collectors.
His cherished Tiny Tim Street of Dreams is in film painting described film script ". He spent over a decade in this film and it almost forced him to sell his house to finance it. However, the history is that check on the eve of the sale, Sharp gets a surprise, and was please mail in which a significant royalties for his lyrics for Tales Of Brave Ulysses, which enabled him to continue working on the film, without the sale of his house.
Another recurring element in Martin's work is now famous "Eternity" signature. The origin of this picture was the remarkable story of Sydney man Arthur Stace, also known as "Mr Eternity". Stace was an illiterate ex-soldier, petty criminal and alcoholic who became a devout convert to Christianity in 1930. Years after his conversion until his death in 1967, walked the streets of Sydney Stace at night writing the single word "Eternity" on walls and footpaths in his unmistakable stamp engraving. Stace identity remained unknown for years until it finally revealed in a newspaper article in 1956. Sharp has perpetuated and celebrated Stace work and message, and "Eternity" Picture appeared in many of his works, including a poster celebrating Sydney's Haymarket district, and a large canvas, which first appeared in the Oxford Street store window of a Sydney in 1990. During the millennium celebrations in 2000, the Sydney Harbour Bridge is lit with the word "eternity" as a tribute to the legacy of Arthur Stace made popular by Martin Sharp.
Sharp's work has been celebrated in numerous exhibitions, including a special retrospective at the Yellow House Art Gallery of NSW.
See also
Martin Sharp – profile in MILESAGO
Hapshash and the Coloured Coat
References
^ See: Hicks, Megan. "The Eternal City." Meanjin 2006 (Vol. 65 Issue 2), P139-146.
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United Kingdom Underground
People
Edward Barker Jim Anderson Mark Boyle Joe Boyd Syd Barrett Caroline Barney Bubbles Coon Felix Dennis Mick Farren Germaine Greer Robin Farquharson and the Coloured Coat Hapshash Jim Haynes John Hopkins Michael Horovitz Peter Jenner and Andrew King Tom McGrath Barry Miles Richard Neville Jeff Nuttall John Peel Martin Sharp Steve Peregrin Aubrey Powell Took Alexander Trocchi
Publications
Children of Albion: Poetry of the Underground in Britain The Black Dwarf Friends Gandalf's Garden Gay News Ink International Times The Mersey Sound Oz Schoolkids OZ Peace News Spare Rib
Bands
AMM Arthur Brown Bonzo Dog Doo-Dah Band Edgar Broughton Band The Deviants Delivery Fairport Convention Family Hawkwind The Incredible String Band Pink Fairies Pink Floyd The Pretty Things The Purple Gang Quintessence Soft Machine Third Ear Band Tomorrow
Other
The 14 clock Technicolour Dream Games for May, Granny Takes a Trip International Poetry Incarnation Release UFO Club
See also
British Poetry Revival Counterculture English underground Freak Scene youth subculture
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Cream
Ginger Baker Jack Bruce Eric Clapton
Studio albums
Fresh Cream Disraeli Gears Wheels of Fire Goodbye
Live albums
Life Cream Live Cream Volume II BBC Sessions Royal Albert Hall London May 2-3-5-6 2005
Compilations
Best of Cream Heavy Cream Strange Brew: The Very Best of Cream The Very Best of Cream Those Were the Days 20th Century Masters: The Millennium Collection: The Best of Cream I Feel Free Ultimate Cream Cream Gold
Single
"Wrapping Paper", "I Feel Free," "Strange Brew," "Spoonful," "Sunshine of Your Love", "Anyone for Tennis, "" White Room "," Crossroads, "Badge" Lawdy Mama "
Employee
Pete Brown Felix Pappalardi Martin Sharp Gail Collins Janet Godfrey George Harrison Mike Taylor
Similar Bands
John Mayall & the Bluesbreakers Eric Clapton's Powerhouse Blind Faith Derek and the Dominos The Yardbirds BBM Ginger Baker's Air Force The Dirty Mac Graham Bond The Beatles Plastic Ono Band
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