By Cosey Fanni Tutti
"A bravura rock memoir vibrating with fierce and fearless memories―a must-have merchandise for Chris and Cosey and Throbbing Gristle fans"
―Kirkus experiences (Starred)
It is the account of an artist who, as a part of COUM Transmissions, represented Britain on the IXth Biennale de Paris, whose Prostitution express on the ICA in 1976 brought on the Conservative MP Nicholas Fairbairn to claim her, COUM and Throbbing Gristle Wreckers of Civilisation’ . . . presently ahead of he used to be arrested for indecent publicity, and whose paintings is still held on the leading edge of up to date art.
And it's the tale of her paintings as a pornographic version and striptease artiste which challenged assumptions approximately morality, erotica, and art.
Wise, stunning, and stylish, this can be the lifetime of Cosey Fanni Tutti.
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Additional resources for Art Sex Music
My dad’s family visited us a lot in the early years, before he all but banned them from our house. His mother, Olive, had expected my sister to be named after her but Mum and Dad had refused. That, and the fact that Olive regarded Mum, a widow, as second-hand goods, was the final straw – harsh, considering Olive’s own mother had also been widowed and remarried. Dad’s sister, Beryl, was my mum’s best friend for years. When I met her about ten years ago she showed me a photo she’d kept from the late 1940s of her and my mum on a day out at the coast, laughing their heads off.
It came with a small earphone, so at night I’d lie in bed, tune in and listen to music. TV was a huge influence as I entered my teens. E. and Batman. I was totally smitten with The Avengers and the female leads, Honor Blackman and Diana Rigg. They were my kind of women: self-assured, bold and more than capable of handling themselves, and I aspired to be more like them than the expected ‘norm’. My dad had other plans for me, which were revealed one Sunday lunch as we were all sitting at the table eating.
I couldn’t have landed under a better person’s supervision if I’d planned it myself. Our building was separated from the main school, which meant it was ‘off-piste’ from the headmistress’s regular inspection patrols, so we could make a hell of a lot of noise. At times it was more like scenes from the St Trinian’s films. Miss Kirton was quite unorthodox in both her dress and her approach to teaching and discipline. She’d also suffered from polio, which had noticeably affected her gait; she was slightly hunched over and her (always) bare legs were pale and very thin.