{painting} – Page 15 – { feuilleton }

Mass

In the post this week, Mass, the first collection of paintings by John Harris in a hardback edition published by Soleil in 2000. The text is in French throughout but that’s okay, I wanted this for the pictures. It was also cheaper and in better condition than other options. I like a bargain. Having looked at a lot of Harris’s work on various web pages over the past few weeks it’s immediately evident how much better the paintings look here: there’s a lot more detail which, in Harris’s case, includes visible brushstrokes and the grain of the canvas. You’d expect as much from a book but it’s a further reminder that art books in particular aren’t threatened by the existence of ebooks, especially now that so many people view web pages on small screens. There’s still no substitute for seeing the paintings themselves, as Robert Hughes was always insisting, but you can only do this if the works are on display somewhere. When illustration ranks so low in the art-world hierarchy some kind of mediation is unavoidable.

Previously on { feuilleton }
• The sublimities of John Harris

The sublimities of John Harris

I might never have paid much attention to John Harris’s paintings if they hadn’t appeared so often at Adam Rowe’s 70s Sci-fi Art. Harris is also featured in Rowe’s new book, Worlds Beyond Time, with a few examples that sent me looking for more. I like science-fiction art when it’s dealing with megastructures, especially if those structures aren’t readily interpretable as buildings, spaceships or alien artefacts. This is SF art in the service of the philosophical Sublime, a quality which, since the 1940s, you don’t find very much in painting outside the work of illustrators or artists of the fantastic. Some of these structures, like the one that Harris calls “The Wall” (below), might be relatives of the abandoned concrete edifices in Jean-Pierre Ugarte’s paintings. Another point in Harris’s favour is the way he uses SF-like imagery as outlets for his own visionary experiences: there’s a series entitled Mass which depicts images that came to him following a period of transcendental meditation. The Mass series later gave a title to the first book of Harris’s art which was published by Paper Tiger in 2000.

• More John Harris

Continue reading “The sublimities of John Harris”

Remedios Varo, 1967

Online galleries have made profiles like this short Mexican film rather redundant, but it’s good to know that someone went to the trouble of presenting Varo’s paintings in this way at a time (1967) when you’d be lucky to see more than one of them in a book on Surrealist art. Jomí García Ascot’s camera roams among the details of Varo’s dreamworlds while Spanish voices read from a variety of Romantic and other texts. I hadn’t noticed before the amount of cats in Varo’s paintings. Look for the felines here.

Elsewhere on { feuilleton }
• The Surrealism archive

Previously on { feuilleton }
• Pynchon and Varo
• Remedios Varo’s recipe for erotic dreams

Weekend links 687

The Peacock Garden (1898) by Walter Crane.

• “The trio [Remedios Varo, Leonora Carrington & Kati Horna] became known as the ‘three witches’ for their exploration of the supernatural and metaphysical—which ranged…’from tarot readings to shamanic psychedelics to attempts to stop or slow time.'” Teresa Nowakowski on Remedios Varo: Science Fictions, an exhibition of Varo’s paintings at the Art Institute of Chicago which includes the one that Thomas Pynchon singled out for description in The Crying of Lot 49.

• Philip K. Dick giving a lecture on “orthogonal time” to a small audience at the Festival International de la Science-Fiction, Metz, in 1977. Dick’s talks and interviews aren’t exactly scarce, but this one was of interest for me since I recently designed an edition of John Crowley’s Great Work of Time, a novella which involves a similar concept. If you were at the Metz Festival in 1977 you could also see a live performance by Cluster. Lucky you.

• “Our minds remain open when the LSD wears off.” Steve Paulson on psychedelic drugs and their usefulness as therapeutic tools.

• At Cartoon Brew: Stephen Irwin’s animated films “combine the influences of David Lynch, Struwwelpeter, and the Brothers Grimm.”

• Steven Heller looked at NB3, the third book about Neville Brody’s graphic design. Elsewhere, Heller’s font of the month is Scusi.

• The glowing, prismatic nervous system of a sea star wins the Scientific Image of the Year.

• At Unquiet Things: Forgotten worlds and wonderlands from The Art of Fantasy.

• “Don’t waste my time with blood-free monster movies,” says Anne Billson.

• At Aquarium Drunkard: King Tubby And Soul Syndicate — Freedom Sounds In Dub.

• Mix of the week is DreamScenes – August 2023 at Ambientblog.

• Time Machine (1970) by Stray | Time Captives (1973) by Kingdom Come | The Existence Of Time (2012) by Monolake

Weekend links 685

Art by Naoyuki Katoh, 1982.

• RIP Paul Reubens. Here’s Steven Heller on Pee-wee Herman and his clinically hyperactive playhouse (not forgetting Gary Panter’s involvement); Bruce Handy on Paul Reubens’ preposterous grace; and David Hudson on Paul Reubens before and after Pee-wee.

• Three Thousand (2017), a short film by Asinnajaq in which “a riveting collage portrays a century of Inuit history, and envisions a vibrant future”.

• New music: Velocity Of Water by Suki Sou; The Blue Beyond by Jana Winderen; and Jäi mieleen by Aki Yli-Salomäki.

• DJ Food posted a handful of psychedelic LP sleeves for non-psychedelic artists. There’s a lot more to be found.

• “We had no rules. Song structure didn’t exist. It was nihilistic.” It’s Bush Tetras again.

• “Infrared light reveals hidden portrait beneath 1943 René Magritte painting.”

• At Dennis Cooper’s: Gakuryu Ishii Day.

• Tequila (1958) by The Champs | Tequila (1958) by Perez Prado | Tequila (1972) by Hot Butter