September 2015 – Page 4 – { feuilleton }

Avalon cowboys

And speaking of The Charlatans, these three posters by Rick Griffin stand out for me for the way they show the name of the headline group running across the set when placed together. Serial prints weren’t unusual among the San Francisco artists but this is the only example I’ve seen that works in this manner. The posters were promoting three concert sessions at the Avalon Ballroom, San Francisco, from May to July 1967. The photography by Herb Greene adds to the attraction of this series; the combination of lighting, sepia tint, and the group’s apparel gives a more convincingly antique effect than similar attempts by other bands. For a taste of The Charlatans’ music, Alabama Bound is featured on my fourth psychedelic mix.

Previously on { feuilleton }
• The Seed
• Art that transcends
• Fillmore sealife
• San Francisco angels
• Family Dog postcards

The Seed

I was so overworked during the summer months that late in June I missed the 50th anniversary of the birth of the psychedelic poster, something of a regrettable oversight considering I had an article about psychedelic art in print throughout that month.

This weathered item from June 1965 is generally credited as the first example of a type of poster whose influence—diluted or not—would be global during the next few years, hence the nickname given to it by collectors: “The Seed”. George Hunter and Michael Ferguson were the artists, and the antiquated drawing style is partly an attempt to complement the persona of The Charlatans, a San Francisco group who adopted 19th-century clothing styles. The Seed may appear naive in light of all that was happening a year later but Hunter & Ferguson’s florid graphics were something new in 1965; the poster for the Jefferson Airplane’s first show at the Fillmore in February 1966 is more restrained in comparison, as were other concert posters from around the same time. The most surprising thing about The Seed as a cultural landmark is that it was promoting a series of concerts over the state border in Virginia City, Nevada, not San Francisco as you might expect.

Previously on { feuilleton }
• Art that transcends
• Fillmore sealife
• San Francisco angels
• Family Dog postcards

Weekend links 275

A painting from the Projekt Babelturm series by Wessi.

• “The first thing I would say is that I have no idea what authentic psych music is, and I have no wish to pursue that either. To me the idea of real psych is a paradox. I can’t see how you can have such a thing as real psychedelia when the whole thing is based on a psychedelic drug that gives you hallucinations and illusions and layers and layers of unreality.” Rob Chapman talking to Ben Graham about his new book, Psychedelia And Other Colours.

Elsewhere in a rather psychedelic week: Rob Young reviewed Chapman’s book for the New Statesman; Dangerous Minds posted “Hypnotic video of how a psychedelic masterpiece is made“; and in Germany a homeopathy conference “ended in chaos in Germany after dozens of delegates took a LSD-like drug and started suffering from hallucinations.”

• Coming soon from Dark Entries (so to speak), another collection of Patrick Cowley‘s music for gay porn films.

• Jonathan Barnbrook works some quotes from JG Ballard into the British Road Sign Project.

• “Sorcery is more popular than football in Morocco,” says writer and filmmaker Abdellah Taïa.

• “If you’re going to make something, you should try and be wild,” says Mica Levi.

• Coca-Cola Milanese: Patrick Ellis considers the state of the world’s fair in 2015.

• Hear two pieces from Collapse, the forthcoming album by Drew McDowall.

• Mix of the week: Secret Thirteen Mix 162 by Ketev (Yair Elazar Glotman).

• Emptyset’s Signal transforms Earth’s ionosphere into sound art.

• Paul Laffoley: The Force Structure of the Mystical Experience.

• Fuck off, Star Wars, Ben Wheatley’s High Rise is on its way.

• Ideologic Organ

• Psychedelic Ride (1967) by The Ides | Psychedelic Warlords (Disappear In Smoke) (1974) by Hawkwind | Psychedelic Sewing Room (1989) by Bongwater

Christopher Dresser’s Studies in Design

The previous post about Christopher Dresser’s design studies proved popular so here’s another discovery from the same source. A surprise this time was seeing the middle motif on the page above; I have this separated from its neighbours in a collection of Art Nouveau graphics, and used it on the slipcase of a Cradle of Filth CD in 2002. Studies in Design (1876) is a collection of colour plates of Dresser’s design work. Some of these emulate medieval or Arabian/Persian decoration but the most interesting examples for me are Dresser’s more personal pieces. Once you’ve seen a few of these his style is easy to recognise. Thanks to some searching by Mr TjZ I now know that a number of collections of Dresser’s designs are available from (who else?) Dover Publications. More for the shopping list.

Continue reading “Christopher Dresser’s Studies in Design”

The Mascot, a film by Wladyslaw Starewicz

A recent interview with the Brothers Quay mentioned The Mascot (1933), a Starewicz animation I’d not seen, so here it is. IMDB has a summary:

A toy stuffed dog has just been sewn together when it hears a young child ask for an orange. The child’s mother explains that they have no money, and so she cannot buy any oranges. The dog is then packed up along with a box full of other toys to be sold, but it soon winds up in the street. The dog picks up an orange from a curbside stand, and hopes to take it home to the child. But that night, before the dog can get back to the child’s home, it must face a series of strange and frightening adventures.

A toy’s separation from its owner followed by a fraught journey home is essentially the plot of all the Toy Story films, but Starewicz’s short is rather more grotesque than anything you’ll get from Pixar, especially in the carnivalesque second half. There’s a choice of viewing (and quality) at YouTube, Ubuweb or the Internet Archive.