Haunter latest

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My book of Lovecraft adaptations and illustrations, The Haunter of the Dark and other Grotesque Visions (Creation Oneiros), is now available for pre-order from a number of outlets, including Amazon.com, Amazon.co.uk and Barnes & Noble.

Publication is officially set for September 15th, 2006.
Sample pages and other news here.

“At its far edge, horror shades into beauty, and it is far beyond
that edge that Coulthart takes us, into terrible magnificence.”
Alan Moore, in the book’s introduction

“A terrific book, haunting and beautiful.
That writer from Providence would have been proud…”
Neil Gaiman

Vintage magazine art II

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In the days before colour photography most magazine covers were created by illustrators (as the New Yorker still is), a situation that’s left behind a rich legacy of wonderful artwork often far more stimulating than any of the magazine contents. This site has a great collection of early Vogue covers that show an amazing amount of variety and originality at play. Some of these early issues even break with the understandable stricture for a fashion magazine of having a female figure as the focus.

Looking over this selection, it’s impossible not to compare the rich designs of the 1920s with today’s bland uniformity. Vogue now looks like any other magazine for women, with an overly made-up (often celebrity) face filling the cover and the whole picture crowded with sub-headings and a general clutter of typography. UK Vogue‘s own cover archive pages show the gradual degeneration of a stylish flagship to a condition of cultural muzak over the passage of ninety years.

Previously on { feuilleton }
Vintage magazine art I
View: The Modern Magazine

Russian Utopia

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Glass Stonehenge: Monument for the Year 2001 (1986) by D Bush and A Khomyakov.

“The sheet of heavy glass laying on the row of stones is carrying the next row, etc.”

Russian Utopia is a repository of 480 unbuilt architectural projects from the last 300 years of Russian history. I love seeing designs for unrealised architectural schemes and this site has some fascinating examples like the Glass Stonehenge above. A shame all the pictures are so frustratingly small.

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Temple-City (1987) by I Galimov.

Elsewhere on { feuilleton }
The etching and engraving archive

New work from James Turrell

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Left and below: End Around (2006).
Neon light, fluorescent light, and space.

GRIFFIN is pleased to announce an exhibition of new works by internationally acclaimed artist James Turrell. The exhibition will constitute the American debut of the artist’s Tall Glass series with three new works, along with End Around, a new work from his Ganzfeld series. This exhibition of new work highlights the most recent developments in Turrell’s forty-year exploration of light and human perception. It also serves as a bracket to the artist’s previous GRIFFIN exhibition, which featured the light projection works from the 1960s that constituted his earliest experimentations with the medium. As with that exhibition, the interior space of the gallery will be completely reconstructed to accommodate the new works.

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In his Tall Glass series, Turrell adds a temporal element to his perception-altering oeuvre. Each piece consists of a core of LEDs individually programmed by Turrell to carry out a subtle shift in color over time, similar to the deliberate but beautiful fashion in which the sky changes from late afternoon to night. However, these works’ careful construction insures that the viewer will see only a large floating, subtly changing field of light – a revelatory experience of photons as tangible entities and physical presence.

Also on exhibition will be End Around, one of Turrell’s Ganzfeld works. Upon entering the chamber housing the artwork, viewers instinctively approach what appears to be a faint wall of light in the distance. But upon reaching the light source, one’s entire visual field is consumed by an apparently limitless field of blue light. Turrell engineers the Ganzfeld works to eliminate all visual cues that the human brain uses to process depth. As a result, one is unable to tell whether the ethereal blue field he sees from the platform extends for inches, feet, or into infinity. The loaded act of “moving toward the light” and the subsequent experience of limitlessness reopen the spiritual dialectic that has perpetually surrounded Turrell’s light works.

James Turrell: New Work

GRIFFIN
2902 Nebraska Avenue
Santa Monica, California
90404

May 20th–August 26th, 2006