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 reports (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 triggered the Conservative MP Nicholas Fairbairn to claim her, COUM and Throbbing Gristle Wreckers of Civilisation’ . . . presently sooner than he used to be arrested for indecent publicity, and whose paintings remains to be held on the forefront 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 is often the lifetime of Cosey Fanni Tutti.
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Extra resources for Art Sex Music
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.
I joined two libraries, both of which were a bike ride away. I tended to base my activities as far away from home as I could, mainly to avoid people I knew who might report what I’d got up to to Dad. One library was at the edge of our estate and the other on the neighbouring Longhill Estate. It was there that I discovered books on Greek myths, which opened a whole new world of thinking for me. I developed a voracious appetite for reading. Then I stopped going there, for reasons that had nothing to do with books.
Those affectionate moments between me and Mum were often spoiled by Dad walking into the room and fracturing the calm atmosphere with a brusque ‘Get up off the floor’ – as if speaking to a dog. I only recall one time that he held me in his arms, when I was about six years old. I’d had some teeth out and was still groggy from the gas so he had to carry me into the house. It wasn’t a gesture of affection, but I convinced myself that he loved me nevertheless because he held me safe in his arms, and because he bought me a bar of chocolate.