Weekend links 547

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Anti-Vanitas (2018) by Carrie Ann Baade.

• RIP Richard Corben, an artist whose work I wasn’t always keen on but whose enthusiasm for pulp weirdness and cosmic horror was matched by a pulp vitality of his own. Corben’s Den was the first story in the first issue of Heavy Metal, a strip in which Den’s ever-present penis provided some rare equality of nudity in American comics. Corben was also a lifelong Lovecraftian; his 1972 adaptation of The Rats in the Walls is one of the earliest Lovecraft-derived comic strips.

• “Wit was the great man’s defence. Once, crossing Leicester Square with a friend, he looked up and saw a cinema marquee advertising a new film: Michael Redgrave and Dirk Bogarde in The Sea Shall Not Have Them. Coward turned to his friend and said: ‘I don’t see why not. Everyone else has.'” Philip Hoare on Noël Coward’s private lives: the photographs that could have landed him in jail.

• The end of the year brings the lists: Strange Flowers’ Secret Satan, 2020 is a guide to a surfeit of delectable volumes, while at 3 Quarks Daily Dave Maier selects his favourite ambient music of the year.

It’s not an easy life, but for Layne it is better than the alternative. “There is a generation of writers who think that it is a perfectly acceptable thing to accumulate a couple of hundred thousand dollars in student loan debt and go write “takes”—contrary opinion on things like ‘Why Dogs Are Actually The Worst Pet.’” None of it is new, he says, “it’s what people were doing when Rome burned.” But it has left us worse off, he says.

“I feel like we are post-language now,” he says. “Things are more symbolic. The relationship between words and facts and objectivity and their impact seems to have separated to the point where most of the writing that I see, especially on something like Twitter, is by people baffled that people don’t get what they are trying to say. It’s depressing.”

Dominic Rushe on how Ken Layne created an alternative to clickbait in the desert

• “Underworlds, otherworlds, so many passageways on this earth to elsewheres, especially during these weeks of the year.” Nina MacLaughlin on The Shadows below the Shadows.

Dennis Cooper‘s favourite fiction, poetry, non-fiction, film, art, and internet of 2020. Thanks again for the link here!

• The week in strange worlds: The Strange World of Colossive Press, and The Strange World of Robbie Basho.

• The Images Wish To Speak: An interview with artist Carrie Ann Baade.

Jackson Arn on why so many filmmakers have paid homage to Pieter Bruegel.

Physicists nail down the “Magic Number” that shapes the Universe.

Dreams, Built By Hand

Shadow (1990) by Nusrat Fateh Ali Khan | Shadows (1994) by Pram | Shadow Of A Twisted Hand Across My House (2001) by I.E.M.

The Spring Codex

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Lou Taylor Pucci in Spring.

It was good to finally see Spring (2014) at the weekend, the film that Justin Benson and Aaron Moorhead made in between their connected time-twisters, Resolution (2012) and The Endless (2017). Halfway through Spring there’s a blink-and-you-miss-it moment of intertextuality when the poster above is shown among the pictures that cover the apartment walls of the mysterious Louise (Nadia Hilker). Most of the other pictures in the room are charts that depict the stages of animal evolution; Louise’s poster also depicts a process of evolution but one that occurs only within the pages of the Codex Seraphinianus (1981), the celebrated guidebook to an invented world by Luigi Serafini. If you’re familiar with Serafini’s drawing, which originally filled two pages of the Codex, then the reference is especially enjoyable. Spring‘s themes of sexual obsession and physical transformation are neatly paralleled here, as is the Italian setting of the film, Serafini being an Italian artist whose work is still more visible in Italy than elsewhere. Many other directors would give more attention to this but Benson & Moorhead leave the reference in the background.

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Spring is available on blu-ray in the UK from 101 Films. For more on the Codex Seraphinianus there’s this piece of mine written a few years ago for Fantastic Metropolis.

Previously on { feuilleton }
The Codex Seraphinianus

Electronic Tonalities For The Subjugation Of Parasitic Psychical Entities

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In today’s post, the latest release from The Wyrding Module. The electronic tonalities emanating from darkest Salford continue to be satisfyingly spectral, and with sufficient character to avoid being taken for the work of another artist. Wyrding Module music inhabits a haunted zone where occult rites, parapsychology, cosmic horror and kosmische music intersect; there’s a William Burroughs reference in the title of a piece from an earlier release—Infused With The Venom Of Giant Aquatic Centipedes—and even a hint of psychedelia, mostly evident in the persistently vivid cover art. Pastiche is kept to a minimum; last year’s Typhonic Neural Tantra featured the kind of groovy organ-led number you might hear playing in a horror-film nightclub but this was an uncommon departure. Previous releases (of which there may now be 13…details remain vague) are generally forward-looking, as you’d expect from an artist whose name is borrowed from a science-fiction device—a sonic weapon—invented by David Lynch.

The new album delivers familiar Wyrding Module trademarks: grinding synthetic timbres, glitch-ravaged voices that might be the product of a ritual working, and that organ tone which maintains a generic mood without ever becoming too literal. The print inside each disc is a unique work of generative art. Being someone who likes to keep the seasonal parasites at bay by sustaining the spirit of Halloween until January, this is all very welcome. Subjugate your own psychical entities here.

Previously on { feuilleton }
The Outer Church

Harry Clarke record covers

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Hector Berlioz: Highlights From La Damnation De Faust (1960); Paris Opera Orchestra And Chorus, André Cluytens.  Artwork: “I wish you had something else to do than torment me when I’m quiet” from Faust (1925).

Continuing an occasional series about artists or designers whose work has appeared on record sleeves. Harry Clarke would have been added to this list some time ago but it’s taken a while for Discogs to fill in the gaps ignored by its dominant core of techno-techno-techno obsessives. Clarke’s work is also much more visible today, as a result of which many of the releases here are very recent. The viral nature of internet popularity is a great thing for artists whose work can be shared and appreciated instantly. The drawback is demonstrated by the following albums, many of which recycle the same few drawings from Clarke’s Poe and Faust volumes. I’m sure the musicians who relish Clarke’s work for its grotesque or decadent qualities would find something equally appealing in his Swinburne illustrations if they sought them out. As before, this is probably an incomplete list so if anyone knows of other suitable candidates then please leave a comment.

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Tales of Terror (1971) read by Nelson Olmsted. Artwork: The Man of the Crowd from Tales of Mystery and Imagination (second edition, 1923).

A double album of readings from horror stories. I used to own this one, mainly for the cover since I don’t recall playing it very much. The gatefold interior features Clarke’s painting for The Fall of the House of Usher together with a note from beyond the grave by HP Lovecraft.

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Hector Berlioz / Claude Debussy: La Damnation De Faust / La Damoiselle Elue (1988); Suzanne Danco, David Poleri, Martial Singher, Donald Gramm, Victoria De Los Angeles, Charles Munch, Boston Symphony Orchestra. Artwork: “Forward! Forward!—Faster! Faster!” from Faust (1925).

The classical labels are at least justified in their use of the Faust illustrations. This cropped painting is one of two pieces depicting Faust and Mephistopheles on horseback that suggest Clarke’s parallel career as a stained-glass artist.

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New Dark Age (1998) by Solstice. Artwork: collage of drawings from Faust (1925).

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Mythical & Magical (2008) by Pagan Altar. Artwork: collage of drawings from Faust (1925).

Continue reading “Harry Clarke record covers”

Thomas Bodkin on Harry Clarke

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Harry Clarke’s work appeared in the pages of The Studio magazine on several occasions, either in review or as here, a subject of a special feature. I linked to a later piece a few years ago but until this week I hadn’t seen this earlier entry from November 1919. (I keep intending to download all the issues at the University of Heidelberg and go through them properly. One day…)

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Thomas Bodkin was a barrister and director of Ireland’s National Gallery who became a great champion of Harry Clarke’s work. Like many of the artist’s Irish enthusiasts, Bodkin was familiar with Clarke’s stained-glass designs which he highlights here. Clarke’s stained-glass art is as important a part of his career as his illustration—it was the family business, for which he created over 160 windows and panel designs—but the fruits of this work were seldom seen in print. The Studio was in the vanguard of print reproduction at the time, especially where colour was concerned, so the reproductions of the glass designs are especially good, much better than some of the colour plates in Clarke’s illustrated books. The ever-popular illustration for Poe’s Morella also benefits from reproduction on a large page where the minuscule faces hiding in the decoration become more apparent.

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A few pages before the Clarke feature there are two works by John Hancock that I hadn’t seen before. Hancock and Clarke were both featured in The Golden Hind, the arts magazine edited by Clifford Bax and Austin Spare, but Hancock lapsed into almost total obscurity following his death at the age of 22. For years all I knew of either him or his work was a book reproduction of the Golden Hind piece together with a note saying that he was dismayed by his declining health, and that his body was found floating in Regent’s Canal. (See this page for more.) Harry Clarke also suffered from poor health for much of his life, and died at the age of 41 in Chur, Switzerland, a town best known today for being the birthplace of HR Giger. Some of the phallic monstrosities lurking at the margins of Clarke’s Faust drawings might be precursors of Giger’s airbrushed abominations. I wonder if Giger knew of this connection? Answers on a biomechanical postcard.

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Elsewhere on { feuilleton }
The illustrators archive

Previously on { feuilleton }
Harry Clarke: His Graphic Art
Harry Clarke and others in The Studio
Harry Clarke’s Fairy Tales of Charles Perrault
Harry Clarke in colour
The Tinderbox
Harry Clarke and the Elixir of Life
Cardwell Higgins versus Harry Clarke
Modern book illustrators, 1914
Illustrating Poe #3: Harry Clarke
Strangest Genius: The Stained Glass of Harry Clarke
Harry Clarke’s stained glass
Harry Clarke’s The Year’s at the Spring
The art of Harry Clarke, 1889–1931