Featuring over 300 artifacts drawn from galleries and collectors around the globe, Punk Lust features work from photographers Adrian Boot, Bob Gruen, GODLIS, Janette Beckman, Jenny Lens, Ruby Ray, Marcia Resnick, and Roberta Bayley; fashion designers BOY, Malcolm McLaren and Vivienne Westwood, and Maripol; artists and filmmakers Amos Poe, Jamie Reid, Arturo Vega, Linder Sterling, and Raymond Pettibon, among many others.
Despite the massive scope of the project, Rivera says that “everything wove together beautifully.”
“It ended up being a big community experience, with work representing the West Coast, Detroit, New York, and the UK,” he says.
“Queer art in the ’60s was also very punk because to be out was illegal; to cross genders was against the law,” Rivera continues. “There is so much prejudice against queerness and queer expression that there was already a sense of nihilism and freedom in the queer community because of the marginalisation.”
As the LGBTQ Movement took hold, another underground realm also came to the fore. Pornographers, who had fought the US government and won, flourished during the 1970s. Movie theaters and magazine stores opened for business in decaying cities across the nation, perhaps most famously Times Square — creating the perfect storm for a film like Deep Throat to set record-breaking numbers at the box office.
Sometimes quite literally. “I love the story about how Jordan would wear latex and leather fetish outfits on her commute from Bromley to London to work at SEX, and everyone on her commute was forced to witness the way she was expressing herself in public,” Rivera adds.
“What Malcolm McLaren and Vivienne Westwood were appropriating was hardcore porn and illustrations taken out of gay porn magazines. They were pushing things people didn’t talk about to the centre of conversation by making them visible.”