Hiroshi Yoshida’s India

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Morning Mist in Taj Mahal (Taj Mahal series no. 5) (1932).

Views of countries other than Japan are uncommon in the world of ukiyo-e printmaking but such views do exist. The works of Hiroshi Yoshida (1876–1950) include plenty of traditional Japanese subjects–Mount Fuji, views of Tokyo, etc–but his prints also reflect his travels to India, Egypt, Europe, the United States and elsewhere. As with Japanese prints, temples are a recurrent theme, together with views of the natural world, which in this case includes the Himalayas.

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Morning at Darjeeling (1931).

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Elephant (1931).

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Victoria Memorial (1931).

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High Gate in Ajmer (1931).

Continue reading “Hiroshi Yoshida’s India”

Weekend links 680

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15 Miles into the Earth (1944) by Hendrik Wijdeveld.

• “He realized that there were individuals around him who had never appeared in the great altarpieces and frescoes, individuals who had been marginalized by the cultural ideology of the previous two centuries. And there were hours of the day—transient, yet unequivocal in their lighting—which had never been reproduced, and which were pushed so far from habit and use that they had become scandalous, and therefore repressed.” Pasolini on Caravaggio.

• “Reading Albert Camus and Mikhail Bulgakov by day, by night, crucially, they were listening to Chic, Kraftwerk, Donna Summer, Michael Rother and Grace Jones in the clubs.” Graeme Thomson on the atmosphere and influences that helped create my favourite album by Simple Minds, Empires And Dance. Borges was also a minor influence, apparently, which wasn’t something I knew until this week. I like it when your favourite things join up this way.

• “This being England, a ‘tea shop’ is not a shop that sells tea. That would be a tea merchant. A tea shop serves tea.” Mark Valentine on the perennial connections between rambling and tea-drinking.

Talking about generations as if they really existed and had sway over people is much more respectable and widespread than the belief that events and personalities are governed by the movements of the planets. But is there really much more substance and reality to “generations”? If not “a bunch of bullshit”, the discourse of generations is certainly generative of bullshit: tenuously grounded overviews and opinion pieces, specious analysis and analogies, platitudes and truisms. And yet, like astrology, it is a fun game to play along with. And far more than astrology, it’s a mode of talk that partially constitutes its object: generalizing about a generation actually brings it into semi-existence, shaping how people perceive themselves and how they are perceived by earlier or later generations. What may just be an illusion, a shaky set of alleged affinities, becomes a social fact.

Simon Reynolds analyses the generation game

• More Milton Glaser: PDFs of the Glaser Gazette, a memorial publication in three parts: Vol 1 | Vol 2 | Vol 3

• New music: Tractatus Lyra-Organismus by Lyonel Bauchet, and Grounded Rectangle by Ambidextrous.

• “A digital archive of graphic design related items that are available on the Internet Archives.”

• DJ Food found a handful of psychedelic posters by Nicole Claveloux.

• “Rights to Jorge Luis Borges’s work go to his wife’s nephews.”

• “Is this the earliest known phallic art?

Young Generation Dub (1976) by Augustus Pablo | Chile Of The Bass Generation (1990) by Mental Cube | Invisible Generation (1992) by Cabaret Voltaire

Weekend links 678

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Interior of a Cathedral (1921) by Wenzel Hablik.

• The inevitable Cormac McCarthy features: “Cormac McCarthy took us beneath the surface,” says Kevin Berger at Nautilus magazine, publishers of McCarthy’s essay about the origins of language. At The Paris Review, three writers reminisce about reading McCarthy’s fiction.

• At Bajo el Signo de Libra: Bhupen Khakhar (1934–2003). “Su obra examina las implicaciones políticas y socioculturales de la homosexualidad en la India.”

Dennis Cooper’s favourite fiction, poetry, non-fiction, film, art, and internet of 2023 so far. Thanks again for the link here!

• New music: Telepathic Heights by Hawksmoor, and Golden Apples of the Sun by Suzanne Ciani & Jonathan Fitoussi.

• Mixes of the week: DreamScenes – June 2023, and isolatedmix 121: Oslated & Huinali Showcase mixed by S-Pill.

• At Unquiet Things: Crystal Castles and Harmonious Heavens: Wenzel Hablik’s Glittering Utopias.

• At Public Domain Review: Wonder and Pleasure in the Oude Doolhof of Amsterdam.

• At Spoon & Tamago: Exploring Tokyo’s Hidden Shrines.

• At Aquarium Drunkard: Bush Tetras interviewed.

Ben Chasny’s favourite albums.

• RIP Glenda Jackson.

Utopiat No. 1 (1973) by Utopia | Utopia (2000) by Goldfrapp | Utopia (2013) by Brown Reininger Bodson

Weekend links 672

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Le Vice Errant (1902) by Vincent Lorant-Heilbronn.

• “So however surreal those cities, the invisible ones that he builds, they have their counterpart in the real. They always have their counterpart in visible cities.” Darran Anderson on Italo Calvino’s Invisible Cities.

• At Wormwoodiana: Mark Valentine on the centenary of The Riddle and Other Stories by Walter de la Mare, with special attention paid to The Vats, a very strange story.

• New music: A Bad Attitude by African Head Charge; Lapsed Gasps by Push For Night + Jon Mueller; Forevervoiceless by Brian Eno.

The strands of medicine, consciousness expansion, intoxication, addiction, and crime were tightly entangled in fin-de-siècle Paris, where ether and chloroform circulated among bohemian demi-mondaines alongside morphine, opium, cocaine, hashish, and wormwood-infused absinthe. These solvents were often carried in small glass vials and medicine bottles by the asthmatic, tubercular, and neurasthenic, added to patent tonics and syrups, and, on occasion, to cocktails: an ether-soaked strawberry floating in champagne produced a heady rush, the fruit preventing the volatile liquid from evaporating too quickly. Literary references to ether abounded, either as a signifier of decadence or as a literary prop to shift a realistic narrative into the landscape of dreams and symbols, where its dissociative qualities became a portal to strange mental states, psychological hauntings, uncanny doublings, and slippages of space and time.

Mike Jay on Jean Lorrain and the ether dreams of fin-de-siècle Paris

• At Aquarium Drunkard: Jim Jarmusch and Carter Logan talk about the recording of Silver Haze, their first album as Sqürl.

James Balmont offers a beginner’s guide to the films of Dario Argento.

• At Unquiet Things: Rachael Bridge’s Luminous, Technicolor Shadows.

• Mix of the week: A mix for The Wire by Erika.

Ether Ships (1978) by Steve Hillage | Ether (1998) by Redshift | Ether (2000) by Coil

Eco Del Universo

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Eco Del Universo, the ninth album by Mexican band Los Mundos, was released last month on Acid Test Recordings. I designed and illustrated the outer and inner sleeves for an album whose music is described on the group’s Bandcamp page as psychedelic rock. I’ve not seen a physical copy yet but the vinyl disc is available in two pressings that complement the colours of the cover.

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The brief for this one was for something based on the concrete fantasia known as Las Pozas, an overgrown park with accompanying hotel that Edward James spent many years and a great deal of money building in the Mexican jungle. James was a British aristocrat who fell for Surrealism in a big way in the 1930s, using his inherited wealth to support artists such as Salvador Dalí, René Magritte and Leonora Carrington, while creating Surrealist-styled homes for himself, first at Monkton House in West Sussex then at Xilitla in Mexico. James and his jungle resort have been recurrent subjects here so I didn’t need much encouragement to create something based on his constructions. In the past I’ve described Las Pozas as unfinished but this suggests a scheme with a final goal in mind. I don’t think this was ever James’s intention. His creations are more like very large concrete sculptures rather than architecture, even though some of them have a recognisable architectural form. Finished or not, the structures are a unique hybrid of the purposeless architectural folly—a popular indulgence for British landowners of the 18th and 19th centuries—and caprices like the Palais Idéal of Ferdinand Cheval.

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My cover art is a fantasy on the fantasy which makes James’s improvisations look a little more planned than they are by mirroring their disposition. I also crowded together several of the constructions which at Las Pozas are in separate areas of the complex. Looking at the artwork again I’m reminded of some of Roger Dean’s views which wasn’t my intention originally. I think it’s the combination of unusual architecture, layered foliage and the treatment of light and shade. If the structures weren’t outlined and the sky was a Dean-like gradient there’d be even more of a similarity. The beautiful stellar photo is from the European Southern Observatory (ESO) whose images of the cosmos are free to use so long as you give them credit. This one was by Stéphane Guisard.

Previously on { feuilleton }
The Secret Life of Edward James
Palais Idéal panoramas
Las Pozas panoramas
Return to Las Pozas
Las Pozas and Edward James