Weekend links 535


The Wagnerites (1894) by Aubrey Beardsley.

• “Part of my problem with influence is that the concept is too univocal; most of us are impacted by many others during our lifetimes, but often in oblique ways. So many of the most interesting bits of cultural transmission happen nonlinearly, via large groups of people, and in zigzag mutations. Assigning influence can also have the unintentional effect of stripping artists of their own originality and vision.” Geeta Dayal reviewing Wagnerism by Alex Ross.

• “Buñuel stubbornly refused to have any group affiliation whatsoever. Even though critics always tried to categorize him, he never wanted to explain the hidden meanings of any of his films and often denied that there were any.” Matt Hanson on the surreal banality of Luis Buñuel’s The Exterminating Angel.

• Next month Soul Jazz release the fourth multi-disc compilation in their Deutsche Elektronische Musik series devoted to German music from the 1970s and 80s. The third collection was the weakest of the lot so I wasn’t expecting another but this one looks like it may be better.

James Balmont chooses the five best films by Kiyoshi Kurosawa, who he calls “cinema’s master of horror”. I’ve yet to see any of these so I can’t say whether the label is warranted or not.

• At Wormwoodiana: Mark Valentine in a two-part post here and here charts the emergence of an under-examined sub-genre, the metaphysical thriller.

• Power Spots: 13 artists choose favourite pieces of music by Jon Hassell. A surprising amount of interest in his first album, Vernal Equinox.

• At Spine: George Orwell’s Animal Farm receives new cover designs for its 75th anniversary.

• “Pierre Guyotat’s work is more relevant now than ever,” says Donatien Grau.

• Mix of the week: FACT mix 775 by Sarah Davachi.

May 24th by Matthew Cardinal.

• Ry Cooder with Jon Hassell & Jim Keltner: Video Drive-By (1993) | Goose And Lucky (1993) | Totally Boxed In (1993)

Weekend links 198


Bum (1966) by Pauline Boty.

Eleanor Birne on Pauline Boty, “the only prominent female Pop artist among a generation of famous men”. Ken Russell’s Pop Art documentary, Pop Goes the Easel (1962), which features Boty, may be seen here. Two years later Boty was back with Ken Russell playing the part of the prostitute from The Miraculous Mandarin in a film about Béla Bartók. That’s something I’d love to see. There’s more about her painting, and the work of other female Pop artists, here.

• Why Are We Sleeping? Mark Pilkington on the music world’s recurrent interest in the philosophy of GI Gurdjieff. Pilkington’s most recent Raagnagrok release with Zali Krishna, Man Woman Birth Death Infinity, was reviewed by Peter Bebergal.

• Cinematic details: Frames-within-frames in The Ipcress File (1966), and the typography of 2001: A Space Odyssey (1968).


A Jay Shaw poster for Ben Wheatley’s forthcoming film of High-Rise.

• “…a large cavity must be dug in the bird’s shoulder and filled with ball bearings.” Christine Baumgarthuber on the dubious delights of The Futurist Cookbook.

• Why Tatlin Can Never Go Home Again: Rick Poynor on the difficulties of finding a definitive representation of an artwork online.

Jay Parini reviews Inside a Pearl: My Years in Paris by Edmund White. At AnOther Donatien Grau talks to White about fashion.

• At Bajo el Signo de Libra (in Spanish): the homoerotic and occasionally Surrealist art of Pavel Tchelitchew.

• At 50 Watts: Kling Klang Gloria: Vintage Children’s Books from Austria.

• The motorbike girl gangs of Morocco photographed by Hassan Hajjaj.

Geoff Manaugh on how LED streetlights will change cinema.

Stylus “is an experiment in sound, music and listening”.

• Mix of the week: Secret Thirteen mix 106 by Senking.

• At Pinterest: JG Ballard

This Is Pop? (1978) by XTC | Pop Muzik (1979) by M | Pop Quiz (1995) by Stereolab