{theatre} – Page 29 – { feuilleton }

Koloman Moser posters

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Secession poster (1899).

Since I’ve been delving over the past year into the fin de siècle culture of Germany and Austria, the name of Koloman Moser (1868–1918) has kept recurring. This is partly because of Moser’s associations with the Viennese Secession and the Wiener Werkstätte, of course, but I’ve made a point of drawing attention to his work since it’s struck me as some of the most remarkable being produced anywhere in Europe during the period 1895–1910. Moser’s poster designs are a good example of his authority as an artist and graphic designer who quickly evolved from Mucha-derived Art Nouveau flourishes to a degree of stylisation that was incredibly advanced for the early 1900s. The graphics of Moser and fellow artist/design Alfred Roller point the way to Art Deco twenty years later, and also to the psychedelic era whose poster artists eagerly borrowed motifs, figures and lettering designs from Moser, Roller, Mucha and others.

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Frommes Kalender poster (1899).

Wikimedia Commons has a generous sampling of Moser’s work that shows his incredible versatility in a variety of media. The Secession designers, and Moser in particular, and memorialised in Paul Shaw’s typeface design, Kolo.

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Illustrierte Zeitung poster (1900).

Continue reading “Koloman Moser posters”

Weekend links 82

At the Mountains of Madness (1979) from Halloween in Arkham by Harry O. Morris.

• Golden Age Comic Book Stories always pulls out the stops in the run up to Halloween. In addition to a wonderful collection of Harry O. Morris collages, Mr Door Tree has also been posting Virgil Finlay’s illustrations for Edgar Allan Poe, Lynd Ward’s tremendous illustrations for a collection of weird tales entitled The Haunted Omnibus, Barry Moser’s woodcuts for an edition of Frankenstein, and Virgil Finlay’s illustrations for stories and poems by HP Lovecraft.

• “Eugene Thacker suggests that we look to the genre of horror as offering a way of thinking about the unthinkable world. To confront this idea is to confront the limit of our ability to understand the world in which we live – a central motif of the horror genre. In the Dust of This Planet explores these relationships between philosophy and horror.”

• “…the reader […] becomes a conscious participant in the process of imposing a linear sequence, while at the same time remaining aware that all narrative is an act of memory, and that memory is necessarily random.” Jonathan Coe reviews Marc Saporta’s book-in-a-box, Composition No.1, recently republished by Visual Editions.

• Nearly fifty years after its first performance, Peter Weiss’s Marat/Sade is still disturbing playgoers. And nearly ninety years after its release, Alla Nazimova’s silent film production of Oscar Wilde’s Salomé is touring the UK with live musical accompaniment.

• Tom of Sinland at Homotography, in which illustrator Bendix Bauer portrays some of the fashion world’s notable male designers as Tom of Finland-style characters for Horst magazine.

• Neil Gaiman Presents is a new audiobook imprint which launches with works by Jonathan Carroll, Alina Simone, Keith Roberts, M. John Harrison and Steven Sherrill.

• The Weird Wild West: Paul Kirchner has put all his Dope Rider comic strips online.

• Leonora Carrington prints at Viktor Wynd Fine Art, London, from November 5th.

• The Fall to Earth: David Bowie, Cocaine and the Occult.

• Photos of New York City, 1978–1985.

• Kathy Acker recordings at Ubuweb.

• The Occupied Times of London.

• The Golden Age of Dirty Talk.

• Pushkin silhouettes.

• This week I’ve been lost in the Velvet Goldmine (again): John, I’m Only Dancing (1972) by David Bowie | The Jean Genie (1972) by David Bowie | Drive-In Saturday (1973) by David Bowie.

Malicious Damage

I was going to title this post “Fucked by Monty” but thought that might give the wrong impression. The phrase was one of several titles added to the cover of The Collected Plays of Emelyn Williams by Joe Orton and Kenneth Halliwell when they were happily defacing the books of Islington Library, London, in the early 1960s. Despite the outrage of the librarians at the vandalism most of the defaced books were put aside and are now prized items in Islington’s collection. This week the library announced an exhibition of the books, Malicious Damage: The crimes of Joe Orton and Kenneth Halliwell. The Guardian has a gallery of the covers here (and there’s more at Joe Orton central), rare examples of what might be called “guerilla collage”.

In addition to tarting up boring cover designs, Orton and Halliwell also typed their own descriptions of some the books’ contents. Gollancz volumes were apparently good for this since the publisher left the inside of their famous yellow dust jackets blank. John Lahr in Prick Up Your Ears gives an example from a Dorothy L Sayers novel which is also read out in the 1987 film adaptation:

When little Betty Macdree says that she has been interfered with, her mother at first laughs. It is only something the kiddy has picked up off television. But when sorting through the laundry, Mrs. Macdree discovers that a new pair of knickers are missing she thinks again. On being questioned, Betty bursts into tears. Mrs. Macdree takes her to the police station and to everyone’s surprise the little girl identifies P.C. Brenda Coolidge as her attacker. Brenda, a new recruit, denies the charge. A search is made of the Women’s Police Barracks. What is found there is a seven inch phallus and a pair of knickers of the kind used by Betty. All looks black for kindly P.C. Coolidge…. What can she do? This is one of the most enthralling stories ever written by Miss Sayers.

It is the only one in which the murder weapon is concealed, not for reasons of fear but for reasons of decency!

READ THIS BEHIND CLOSED DOORS. And have a good shit while you are reading!

Alan Bennett wrote the screenplay of Prick Up Your Ears and that line about “It is only something the kiddy has picked up off television” could well have been one of his own. Orton said that when the pair ended up in court the greatest outrage was shown not towards their obscene amendments but to simple bits of Surrealism such as the adding of a monkey’s face to the cover of Collins Guide to Roses. Schoolboy humour is understandable but don’t dare do something that makes no apparent sense.

Malicious Damage is a free exhibition and runs until January, 2012.

Previously on { feuilleton }
• Joe Orton Online
• Joe Orton

Weekend links 79

Neville Brody creates a cover design for an issue of the V&A magazine tied to the museum’s current exhibition, Postmodernism: Style and Subversion 1970–1990. Brody’s comment amused me for the way he smartly explained the thinking behind the design whilst also distancing himself from its theme:

For me, Post Modernism felt like a kind of facade built to cover over the cracks of a divided world, a surface of plucked effects and stylistic devices emptied of meaning, an extrusion of hollow traces and flat outlines forcing 2D into apparent depth. I was never a Post Modernist, rather a Modernist exploring humanist lines of enquiry in the collapsing world behind a wall of decoration.

• It’s a common thing today to give images from the past a queer reappraisal, finding homoerotic qualities in pictures which, when they were made, would have seemed free of any sexual subtext. This post finds such a subtext in recruitment posters for US armed forces although none of the examples are as overt as this wartime magazine ad. Over at Front Free Endpaper Callum notes that many vintage photos which people regard today as evidence of gay relationships are unlikely to be quite that. The photo he posts, however, really does appear to show a pair of men who were more than just good friends.

• A play by Ororo Productions of HP Lovecraft’s The Dunwich Horror will be staged at the London Horror Festival from October 25th. Related: Horror Made Delightful: The Strange Stories of Sheridan Le Fanu, MR James, and Robert Aickman. “Aickman never spells out his meaning,” says Greer Mansfield, “His stories end abruptly and inconclusively, and in fact the ‘meaning’ is less important than the utter mysteriousness of what happens.” Which is just what some of us enjoy.

Black Beauty, a decorated horse skull by Julia deVille.

• “Jackpot is a comedic short film about a 14-year-old gay boy in 1994 who sets off on a quest to find a stash of gay porn and get it home before anyone finds out.” Director Adam Baran is requesting completion funds at Kickstarter.

• Gendai Shogyo Bijutsu Zenshu (The Complete Commercial Artist), published in Tokyo from 1927 to 1930.

• Ishac Bertran tries some analogue sampling by chopping up vinyl discs with a laser cutter.

• Steve Jobs does LSD and The Residents pay tribute to Steve Jobs.

• A rare post at Ballardian: Outpost 13: The Atrocity Exhibition.

• It’s all fun and games until Charles Manson turns up…again.

• The Edgar Allan Poe Portfolio (1976) by Berni Wrightson.

• RIP David Bedford and Bert Jansch.

• John Waters: Roles of a Lifetime.

• Octopi Wall Street!

• Homocomix.

• Poison (1969) by Bert Jansch | Pentangle at the BBC (1970): Train Song | House Carpenter | Hunting Song | Light Flight

Weekend links 76

Despite appearances I’m still doing bits of design and layout work for various musicians. In the past week I’ve been trying to reorganise this sprawling website a little so it’s easier to add new work quickly and easily. One recent job was more layout than design, a CD and vinyl package for a Roly Porter collection of instrumentals entitled Aftertime. Each track on the album is named after a different planet from Frank Herbert’s Dune books although the music isn’t as illustrative as that implies. Porter’s use of an Ondes Martenot and various acoustic instruments which he subjects to degrees of distortion is just the kind of thing I like hearing. One track can be heard at FACT where Porter is interviewed about his work. Aftertime is released this month on the Subtext label.

It is a rollicking saga that involves all sorts of things not normally associated with think tanks – chickens, pirate radio, retired colonels, Jean-Paul Sartre, Screaming Lord Sutch, and at its heart is a dramatic and brutal killing committed by one of the very men who helped bring about the resurgence of the free market in Britain.

Adam Curtis on the strange history of Britain’s think tanks and their hidden agendas.

• Other assorted music business: Getting down to the Cabinessence: “This is the first of what may become an intermittent series of observations about Smile, and how Brian Wilson tried to put his dream on this planet.” | After The Flood: Talk Talk’s Laughing Stock 20-Years On: a lengthy and detailed Quietus piece on one of the best albums of the 1990s. | Jonathan Barnbrook uses an old analogue video synth to create a visual accompaniment for Interplay by John Foxx & The Maths. The HD version is an eye-searing delight.

• Meredith Yayanos favours the sister instrument of the Ondes Martenot, the theremin, which she uses to provide a spooky score for a new film, Empty Rooms. There’s more spectral ambience at her SoundCloud page.

A Jules Verne cover by Carlo Giovani for Editora Ática.

• Sculptor and writer Josiah McElheny transforms the Whitechapel Gallery into a hall of mirrors.

• Jacob’s Lament, an animated collaboration between illustrator Ian Miller and Stijn Windig.

• Pornographic Poem (1967) by John Giorno.

• Oscar Wilde grandson scorns “new” play.

• Manhattan in marble by Yutaka Sone.

• Paul Atreides pt. 1 (1978) by Richard Pinhas | Harkonnen (1979) by Zed (Bernard Szajner) | Prophecy Theme (1984) by Brian Eno.