Bjork debut moma drivers#
Bjork debut moma software#

The four musicians she mentioned to Pytlik are surely just one aspect of her inspiration and ambition.

Bjork debut moma drivers#

Videos themselves were the main drivers of sales throughout the 1980s, initiating the MTV age, before digital technologies enabled a more holistic multimedia approach, particularly in terms of live performance.ījörk seems to embody all of this. Dylan has exhibited his paintings and sculptures in galleries worldwide, including the National Portrait Gallery in London.įilm was also used to cultivate and enhance image: look at the proto-videos for Dylan’s 1965 single Subterranean Homesick Blues or, a decade later, Queen’s global phenomenon Bohemian Rhapsody. Some musicians even insisted on fashioning their own album covers, Bob Dylan and Joni Mitchell chief among them. The trend began with album covers as genuine works of art (Peter Blake’s 1967 collage for the Sgt Pepper’s album) and soon evolved into elaborate stage costumes (Arthur Brown), and ultimately, into exotic alter egos (David Bowie’s Ziggy Stardust, whose costumes featured among the exhibits at last year’s V&A retrospective of Bowie’s stage creations).

This was what initiated the art world’s exploration of the interface between art and music.

The art world finally took notice around the turn of the millennium when Tokyo’s Metropolitan Museum of Photography featured an exhibition on the making of Allen’s film in late 2002.

Bjork debut moma software#

They collaborated with artists for album art work (Emil Shult created the iconic cover for Autobahn) and music videos (Rebecca Allen used state-of-the-art facial animation software for the film that accompanied the 1986 single Musique Non-Stop). Their stage performances were carefully constructed. They refused to be photographed, and used dummies for photoshoot clones. Of course, there’s an argument that Kraftwerk has always defied constructs of what constitutes a popular music act or even a rock band it has always been more of an arts collective. The same format was used by Tate Modern in London for another eight sell-out performances in February 2013. In 2012, there was the exhibition Kraftwerk – Retrospective 1 2 3 4 5 6 7 8. There were eight live shows, each featuring the music of a different album. This is not the first time MoMA has recognised the margins of culture inhabited by some musicians. Bell, a key figure in the development of techno and house music in the UK in the 1990s, essentially fused Eno’s ambient music with Kraftwerk’s melody-driven synthesised beats.ījörk, The Face, 1993. He certainly inspired Kraftwerk and Eno to redefine the confines of popular music in the 1970s. German electronic music pioneer Stockhausen was most active in the 1950s and 60s. Her influences tell us a lot about why and how this is the case with her work. At the heart of such a show is the question of where the boundaries between art and music lie. Björk may be a musician but she has a much broader aesthetic than music – to the extent that an exhibition about her is shortly opening at MoMA. It not only name-checks some of the most important musical figures of the past 70 years, but also provides a template with which to understand Björk. An intriguing, if not altogether surprising, group. “If I were to say who influenced me most, I would say people like Stockhausen, Kraftwerk, Brian Eno and Mark Bell,” Björk told Mark Pytlik for his biography of the Icelandic musician.