Ubuweb – Page 5 – { feuilleton }

Joseph Cornell: Worlds in a Box

Susan Sontag, Tony Curtis and Stan Brakhage all shared an appreciation for the work of American artist Joseph Cornell (1903–1972), and all appear in a 51-minute documentary Joseph Cornell: Worlds in a Box directed by Mark Stokes for the BBC in 1991. Susan Sontag was also the subject of one of Cornell’s collages, something she discusses here. Tony Curtis collected many of Cornell’s boxes and used to visit the artist when he was in New York; in Stokes’s film he discusses their relationship and reads from Cornell’s writings.

I’ve had a tape of this for years courtesy of Kerri Sharp who worked on the film (hi Kerri!) but it’s taken a while to turn up on YouTube. The value of films such as this isn’t so much the view they give of the works themselves—all of which are better judged in books or museums—but the way they function as mini-biographies which give a sense of the environment from which the art emerged. You can read in detail about Cornell’s life in Deborah Solomon’s Utopia Parkway: The Life and Work of Joseph Cornell (1997) but a text description of his home lacks the immediacy of the views Stokes gives us of the Cornell house, and the room where he created so much of his work. The film also follows Cornell’s train journeys into New York City, and visits the locations of his short films. Extracts of the latter appear throughout the documentary but you can see them in full at Ubuweb.

If you’re looking for an arty (and costly) Christmas present this year, Thames & Hudson have just published Joseph Cornell’s Manual of Marvels: How Joseph Cornell reinvented a French Agricultural Manual to create an American Masterpiece; two books in a box with a CD, edited by Analisa Leppanen-Guerra and Dickran Tashjian. The NYT reviews it here.

Previously on { feuilleton }
• Joseph Cornell, 1967
• Rose Hobart by Joseph Cornell
• View: The Modern Magazine

Weekend links 128

Seven-inch sleeve design by Savage Pencil for Wrong Eye (1990) by Coil.

• “Can you use sensory deprivation to explore ESP? And then make music from the process?” Drew Daniel and MC Schmidt of Matmos decided to find out for their new EP. Related: Occult Voices—Paranormal Music, Recordings of Unseen Intelligences, 1905–2007 at Ubuweb. Details of the original CD release can be found here.

• Gorgeous Gallery: The Best in Gay Erotic Art is a new book by David Leddick featuring the work of contemporary gay artists. Howard G. Williams has a review at Lambda Literary.

• Trip or Squeek by Savage Pencil, a book collection of the artist’s comic strips for The Wire magazine, forthcoming from Strange Attractor Press.

The novels of the middle period are Burgess’s most vital because it was in these that he forged what we might now recognize as the Burgessian – the antic puns and wordplay, the etymological digressions, the opacity, the glamorous pedantry, the tympanic repetitions, and an alliterative, assonantal musicality that makes every sentence seem vivid and extrovert: “Seafood salt with savour of seabrine thwacking throat with thriving wine-thirst”; “the lucent flawlessness of the skin, of the long fleshly languor that flowered into visibility”; “he was in a manner tricked, coney-caught, a court-dor to a cozening cotquean”. This is Burgess’s description of an Elizabethan brothel: “He entered darkness that smelled of musk and dust, the tang of sweating oxters, and, somehow, the ancient stale reek of egg after egg cracked in waste, the musty hold-smell of seamen’s garments, seamen’s semen spattered, a ghost procession of dead sailors lusting till the crack of doom”.

Ben Masters on A Clockwork Orange and its creator, fifty years on

• A streaming album for the beginning of autumn, the self-titled debut by Eraas, available in a range of formats at Bandcamp.

• “How Collecting Opium Antiques Turned Me Into an Opium Addict.”

• Ted Hughes reads from Crow. Related: Raptors by Leonard Baskin.

• Janitors of Lunacy: Jonny Mugwump remembers Coil.

Back in June I suggested Clive Hicks-Jenkins’ paintings as potential artwork for Penguin’s Modern Classics series. Last week Clive revealed that Penguin will be using one of his painted maquettes for a new edition of Equus next year.

• 150 Years of Lesbians and Other Lady-Loving-Ladies

• Color Sound Oblivion: a Coil/TG/related Tumblr.

• Tune in, psych out: the new black psychedelia.

• The Hills Are Alive (1995) by Coil | QueenS (2012) by THEESatisfaction | Goldblum (2012) by Oddience.

Weekend links 126

Mala Reputación (1991) by Dogo Y Los Mercenarios. Cover art by Nazario Luque.

Artist Nazario Luque was Spain’s first gay comic artist who’s also known for the drawing which appeared (without permission) on the sleeve of Lou Reed Live – Take No Prisoners in 1978. On his website Nazario says he’s been described as “Exhibicionista, solidario, provocador, agitador moral, rompedor, arriesgado, polifacético, transgresor, canalla, pintiparado, morigerado o simplemente superviviente…” Via Música, maestros, a two-part post (second part is here) about album cover art by comic artists.

• The BBC Radiophonic Workshop Returns. And quite conveniently, Ubuweb posts some original Radiophonic creations by electronic music genius Delia Derbyshire. Ms Derbyshire is profiled along with her other pioneering colleagues in an hour-long TV documentary, Alchemists of Sound.

• Tor.com celebrates the fiction of Shirley Jackson. Too Much Horror Fiction has a substantial collection of Shirley Jackson book covers.

Phantasmagorical and all but plotless, Nightwood flings itself madly upon the night, upon Wood, and upon the reader. Its sentences pomp along like palanquins and writhe like crucifixions. They puke, they sing. Their deliriums are frighteningly controlled. […] TS Eliot loved Nightwood so much that he shepherded its publication and wrote the introduction to the first edition. Dylan Thomas complimented it with his left hand by calling it “one of the three great prose books ever written by a woman” and with his right hand by stealing from it. […] Nightwood’s Dr. Matthew-Mighty-grain-of-salt-Dante O’Connor, florid monologist and transvestite, seems to have been a model (along with Captain Ahab) for Judge Holden in Blood Meridian. The difference is that Cormac McCarthy’s Judge is essentially Satan, whereas O’Connor is essentially Christ; they’re only just on opposite sides of the border of madness.

Austin Allen on The Life and Death of Djuna Barnes, Gonzo “Greta Garbo of American Letters”. There’s a lot more Djuna Barnes at Strange Flowers.

• Out at the end of the month, Extreme Metaphors, interviews with JG Ballard, 1967–2008, edited by Simon Sellars & Dan O’Hara.

• The favourite Polish posters of the Brothers Quay. Over at Cardboard Cutout Sundown there are more Quay book covers.

• The Mancorialist: people on the streets of Manchester are given the Sartorialist treatment.

• The Liverpool International Festival Of Psychedelia takes place on 29th September.

• The Caves of Nottingham are explored in a detailed post at BLDGBLOG.

• In Remembrance: Bill Brent, Groundbreaking Queer Sex Publisher.

• Confessions of a Bookplate Junkie

• The Uranus Music Prize 2012

• Fuck Yeah René Lalique

• Dr Who: original theme (1963) by Ron Grainer with Delia Derbyshire | Falling (1964) by Delia Derbyshire | The Delian Mode (1968) by Delia Derbyshire | Blue Veils And Golden Sands (1968) by Delia Derbyshire.

Borges and I

Another piece of revenant television to tick off the “When will I see this?” list. I mentioned David Wheatley’s film Borges and I back in January in a post about the director’s dramatisation of the life and work of René Magritte. Wheatley’s student film secured for him a job as a BBC director at a time when the Arena arts series was one of the best things being produced by the corporation. Borges and I was filmed in 1982 and broadcast a year later, an event I managed to miss to my considerable regret. Once again Ubuweb has turned up the goods with a copy from an American video tape. It’s not ideal—all the Spanish sequences would have been subtitled in the original broadcast—but I’m not going to complain. This 80-minute film is not only the best Anglophone documentary I’ve seen on Borges, it was produced in collaboration with the author who for much of the running time discusses his life and work in English. The tape copy also frustratingly lacks credits but the unseen American interviewer and narrator would appear to be translator and collaborator Norman Thomas di Giovanni, a writer who later found himself and his work marginalised by the Borges estate. Between the interviews and readings there are dramatised sequences from The Meeting, Funes, the Memorious, The South, The Circular Ruins, Death and the Compass, and The Sartorial Revolution, one of the collaborations with Adolfo Bioy Casares. Plus, of course, the expected complement of mirrors, tigers and a duel with knives. The budget must have been generous: scenes were shot in Argentina and Uruguay, and we also see Borges at his favourite lodging in Paris: L’Hôtel in the Rue des Beaux-Arts, a building which now bears plaques celebrating the visits of Borges and another famous literary resident, Oscar Wilde.

Previously on { feuilleton }
• René Magritte by David Wheatley
• L’Hôtel, Paris
• Borges documentary
• Borges in Performance

Weekend links 118

The Garden of Urban Delights (2010) by Marcin Owczarek.

His protagonists are misfits: alienated, implicitly gay, longing for love, frequently hard to be around, always fixated on small pleasures that compensate for an essential feeling of not belonging. […] His patroness Edith Sitwell termed him “that rare being, a born writer.” William Burroughs dedicated The Place of Dead Roads to him, declaring Welch “certainly the writer who most directly influenced my work.” John Waters has called In Youth is Pleasure “so precious, so beyond gay, so deliciously subversive, [it] is enough to make illiteracy a worse social crime than hunger.”

Sadie Stein on Denton Welch, a writer I’m embarrassed about still not having read. Edith Sitwell and William Burroughs had a famously disputatious correspondence in the pages of the TLS over The Naked Lunch. An appreciation of Welch’s work was one of the few things they had in common.

• Don’t mention guitars: Robert Hampson on acousmatic music, the curse of Loop and the rebirth of Main.

• No Straight Lines: A Collection Of Queer Comics part one, part two, part three. A history by Justin Hall.

• Pieces Of Gold by The Aikiu: shots from gay porn videos repurposed via some smart editing.

• RIP Ilhan Mimaroglu, electroacoustic composer. Ubuweb has a selection of his recordings.

“A good ground rule for writing in any genre is: start with a form, then undermine its confidence in itself,” he says. “Ask what it’s afraid of, what it’s trying to hide – then write that.” For Harrison, the most satisfying writers are “at odds with their cultural context. They’re trying to fit in and failing, or they’re trying to remove themselves and failing. The attempt to resolve the conflict is an angle – a frame or a context – in itself.”

The Guardian’s A Life in Writing profiles M. John Harrison. His new novel, Empty Space, was published on Thursday. There’s also this recent video interview with Arc magazine.

• Stephen Usery interviews editor Russ Kick about The Graphic Canon: Volume One.

• At home with Prince Zaleski, the “most decadent and imperial detective in fiction”.

• A Visit with Magritte: photographs by Duane Michals.

• Loitering airships could dispense drones on demand.

• Creating a Forever Object: Ian Schon’s Pen Project.

• A Tumblr for the late, lamented Arthur Magazine.

• “Few cities can boast a railway line for the dead.”

• The Lost Tapes by Can: An Oral History.

• Space Reflex (1963) by Dick Hyman & Mary Mayo | Space Is Deep (1972) by Hawkwind | Space Is The Place (1973) by Sun Ra | Space Moment (1995) by Stereolab | Space Pong (2006) by T++