Ernst Fuchs, 1977

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I try to avoid buying even more big art books when I already have shelves groaning under the weight of the things but this one was unavoidable. I’d been after Draeger’s Ernst Fuchs (1977) for some time but whenever I went searching for a copy all the available ones were prohibitively expensive. The news of Fuchs’ death earlier this month prompted a new search which revealed a copy that was astonishingly cheap: £17.50 (!) for a large, heavy and very lavish art book that’s been out of print for years. Even with the postage this was still a remarkable bargain.

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After taking delivery of it today I’m even more surprised since the book is better than expected, with heavy paper throughout and numerous colour plates. The text is in German, of course, but that’s not a problem when there are so many beautiful reproductions of favourite pictures. An exceptional production with a dust jacket of deep metallic gold beneath which you find a Fuchs design blocked onto the boards, front and back.

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Something I realised looking through the pages is that this is yet another of the art books that provided pictures for the early issues of Omni magazine. Mati Klarwein’s God Jokes was published in 1976; Giger’s Necronomicon had its first English edition in 1977, the same year as the Fuchs book; Bob Venosa‘s Manas Manna appeared in 1978; Omni showcased work by all these artists and others like them, and was the first place where I and many other readers would have seen their paintings. One of the pictures in this Fuchs collection appeared on the cover of Omni #6 in March, 1979. The 1970s was, among other things, a great period for this type of fantastic art.

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Italian villas and their gardens

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As the gilded panel proclaims, this book is a collaboration between Edith Wharton and Maxfield Parrish. Italian Villas and their Gardens was published in 1904, and includes many photos of the houses and their grounds in addition to Parrish’s illustrations. The Parrish pictures look at times like unpopulated scenes from his illustrations for children’s books.

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Weekend links 285

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Some of the art from my collage adaptation of The Picture of Dorian Gray appears on the cover of The Graphic Canon: Volume 2, published this month in a German edition by Verlag Galiani. Out next month (although possibly available now) is the same book in a Brazilian edition from Boitempo Editorial. One of the disappointments this year was having to abandon plans to contribute to Russ Kick’s forthcoming graphic canon of crime fiction. I was overstretched during the summer, and what with projects slipping their deadlines and the trip to Providence there wasn’t any time left for other things.

• For those who missed the first edition, a second and final expanded edition of the Penda’s Fen study/celebration The Edge Is Where The Centre Is.

• Whipping up a storm: how Robert Mapplethorpe shocked America; Kevin Moore on the photographer’s Perfect Moment exhibition.

In the best scenario, metaphysical art distributes the work of understanding among cultural traditions and symbolic systems, and it is along these lines that Carrington’s work has been described as a productive combination of Mexican, Egyptian, Hebrew, Celtic, Greek, and Mesopotamian elements. Her paintings, plays, and stories mix the symbols of alchemy, astrology, Tarot, herbalism, magic, witchcraft, and a personal iconography.

Leif Schenstead-Harris on the life, art and fiction of Leonora Carrington

• Mixes of the week: Hieroglyphic Being collects favourite cosmic jazz of the 1970s; NTS Radio presents an hour of Annette Peacock.

• At Kill Your Darlings: Alexandra Heller-Nicholas enthuses about Dario Argento’s delirious masterwork, Suspiria.

Pye Corner Audio releases a new album (only limited vinyl at the moment—boooo!) and remixes Stealing Sheep.

• The Trip Planners: Emily Witt meets the founders behind Erowid, the online drug encyclopedia.

Woven Processional (1985), music on the Long String Instrument by Ellen Fullman.

• “The Paris attacks prove Charlie Hebdo’s critics wrong,” says Dorian Lynskey.

• Photographs by Danila Tkachenko of abandoned Soviet technology.

Come Wander With Me / Deliverance by Anna von Hausswolff.

• The collages of Guy Maddin.

CAN HALEN

Let’s Take A Trip (1965) by Godfrey | Trip On An Orange Bicycle (1968) by The Orange Bicycle | Last Trip (1968) by We Who Are

Paul Laffoley, 1940–2015

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Alchemy: The Telnomic Process of the Universe (1973).

Another week, another incomparable artist gone. This small selection of Laffoley’s unique art and sculpture manages to combine references to (among other things) alchemy, William Blake, Charles Baudelaire, Oscar Wilde, HP Lovecraft, Mark of the Vampire, and Night of the Demon. And this is only a fraction of his work. Richard Metzger has a memorial post at Dangerous Minds together with more paintings and some video links. There’s more at the official website and Kent Fine Art. It’s good to read that the University of Chicago Press will be publishing The Essential Paul Laffoley in March, 2016.

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The Death and Life of Monsieur Sebastian Melmoth: Au Théâtre du Grand Guignol (2001–2003).

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The Solitron (1997).

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The art of Neil Dallas Brown, 1938–2003

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Apocalypse (Homage to Tangerine Dream) (1981).

It’s not every day you find a painting dedicated to the doyens of German electronica. This and other works by Scottish artist Neil Douglas Brown are in public galleries in Britain which means they’re also online at the BBC’s Your Paintings site. The pictures that combine nebulous figures, blank backgrounds and lines/arrows show an obvious Francis Bacon influence but that’s no bad thing, and Brown isn’t the only artist to explore this territory. There’s more of his work at the official website.

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The Indictment (1976–77).

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Fallen Man (1977).