Visionaries: The Art of the Fantastic

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Curandera (2011) by Martina Hoffman.

Another US art exhibition, Visionaries: The Art of the Fantastic has been running since mid-July at the QCC Art Gallery, New York. I’d have mentioned this sooner but last month has been rather hectic, work-wise. A great opportunity for anyone in the NY area to see original works by artists such as Ernst Fuchs, HR Giger and the late Sibylle Ruppert, plus many works by newer artists. It also shows how fantastic art (as opposed to fantasy art) continues to pursue its parallel course and draw fresh talent despite never attracting attention from the art critics with the largest megaphones. Not everything in the show is to my taste—I’ve a low tolerance for saccharine, New-Agey things—but the quality and range of the exhibition is impressive. Visionaries: The Art of the Fantastic runs to 20th September, 2012.

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The Revelation of the Turtle Pond (2010) by Isaac Abrams.

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Chant de Mald (1978) by Sibylle Ruppert.

Elsewhere on { feuilleton }
The fantastic art archive

Charles Ricketts’ Salomé

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Here is my scheme. I proposed a black floor – upon which Salomé’s white feet would show; this statement was meant to capture Wilde. The sky was to be a rich turquoise blue, and across by the perpendicular fall of strips of gilt matting, which should not touch the ground, and so form a sort of aerial tent above the terrace. Did Wilde actually suggest the division of the actors into separate masses of colour, today the idea seems mine! His was the scheme, however, that the Jews should be in yellow, the Romans were to be in purple, the soldiers in bronze green, and John in white. Over the dresses of Salomé, the discussions were endless: should she be black “like the night”? Silver, “like the moon”? Or – here the suggestion is Wilde’s – “green like a curious poisonous lizard”? I desired that the moonlight should fall upon the ground, the source not being seen; Wilde himself hugged the idea of some “strange dim pattern in the sky”.

Thus artist, designer, publisher and writer Charles Ricketts (1866–1931), describing in later years his proposal for what would have been the first staging of Oscar Wilde’s Salomé in London. The scheme never materialised since the play was banned but Ricketts did create costume and stage designs for subsequent productions elsewhere, including performances in Japan in 1920. The V&A has Ricketts’ sketch of the stage for a private production in 1906 by the Literary Theatre Society, London. (The ban on Biblical themes in theatre kept the play from public performance in London until 1931.) In the Tate archives there’s what may be one of Ricketts’ costume designs from the Japanese production. Ricketts’ painting of Salomé dates from 1925, and for such a lurid and passionate subject seems rather passionless and inert. This isn’t so surprising, he was always a better designer and graphic artist than a painter; his lifelong partner, Charles Shannon, was the one who excelled with oils.

And speaking of Ricketts and Shannon, searching around turned up this recent blog devoted to the pair which contains much detail about their celebrated book designs.

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Elsewhere on { feuilleton }
The Salomé archive

Previously on { feuilleton }
Charles Ricketts’ Hero and Leander

Weekend links 117

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Illustration and design by Karlheinz Dobsky.

Above and below: samples from Die Lux-Lesebogen-Sammlung, an exhibition of booklets for young people published by Sebastian Lux from 1946–1964. All were designed and illustrated by Karlheinz Dobsky.

• At The American Scholar: “Vladimir Nabokov’s understanding of human nature anticipated the advances in psychology since his day,” says Nabokov biographer Brian Boyd, and An Unquenchable Gaiety of Mind: “On visits to Cambridge University late in life, Jorge Luis Borges offered revealing last thoughts about his reading and writing,” says George Watson.

• The British Library releases The Spoken Word: “A rare collection of recordings featuring the American writer William S Burroughs and the British-born artist Brion Gysin.” Related: Interzone – A William Burroughs Mix by Timewriter.

• Charting the Outlaws: Christopher Bram (again) talking to Frank Pizzoli about his recent study Eminent Outlaws: The Gay Writers Who Changed America.

• The BBC asks “Where are you on the global fat scale?” I’ve always been thin but was still surprised to find my BMI at the very bottom of the scale.

The “otherness” of Ballard, his mesmeric glazedness, is always attributed to the two years he spent in a Japanese internment camp in Shanghai (1943–45). That experience, I think, should be seen in combination, or in synergy, with the two years he spent dissecting cadavers as a medical student in Cambridge (1949–51). Again the dichotomy: as a man he was ebulliently social (and humorous), but as an artist he is fiercely solitary (and humourless). The outcome, in any event, is a genius for the perverse and the obsessional, realised in a prose style of hypnotically varied vowel sounds (its diction enriched by a wide range of technical vocabularies). In the end, the tensile strength of The Drowned World derives not from its action but from its poetry.

Martin Amis on The Drowned World by JG Ballard.

The Chickens and the Bulls: “The rise and incredible fall of a vicious extortion ring that preyed on prominent gay men in the 1960s.”

• It’s that Zone again: Jacob Mikanowski on Andrei Tarkovsky’s Stalker and Geoff Dyer’s Zona.

• Scans of the rare film programme for London screenings of Fritz Lang’s Metropolis.

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Illustration and design by Karlheinz Dobsky.

• “The web is a Library of Babel that could go the way of the Library of Alexandria.

Fila Arcana: alchemy- and occult-themed embroidery by Mina Sewell Mancuso.

A Very Edgy Alice In A Very Weird Wonderland: illustrations by Pat Andrea.

Malka Spigel reveals a new track from her third solo album.

John Martin and the Theatre of Subversion.

Olafur Eliasson: Little Sun at Tate Modern.

• Meanwhile, back in 1972: Mahavishnu Orchestra live at the BBC (30 mins), and the complete performance of the MC5 on Beat Club (29 mins).

Starowieyski in Switzerland

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Nike (1971) by Franciszek Starowieyski.

My thanks to Marco Witzig for sending some promotional materials for a new exhibition of work by the great Polish artist Franciszek Starowieyski (1930–2009). The exhibition is running at the gallery of the HR Giger Museum in Gruyères, Switzerland from now until Spring 2013. There’s a selection of photos of the works on show here. I’m always curious to know what size artists work at so it’s interesting to get an idea of this from views of the originals. I’ve linked to Starowieyski’s incredible poster art on several occasions but it’s always worth another look: go here and here and here.

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Elsewhere on { feuilleton }
The fantastic art archive

Previously on { feuilleton }
Surrealism, graphic design and Barney Bubbles
Polish posters: Freedom on the Fence
Franciszek Starowieyski, 1930–2009
The Hourglass Sanatorium by Wojciech Has

Weekend links 115

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Untitled painting by Suzanne Van Damme (1901–1986).

Eric Berkowitz, author of Sex and Punishment: 4000 Years of Judging Desire, chooses five books for The Browser.

Venus febriculosa is running another competition: Design a new cover for Brian Eno’s Music For Films.

• Paul Mayersberg and Tony Richmond on making The Man Who Fell to Earth.

When a good idea occurs, it has been prepared by a long time of reflection. But you have to be patient. We all have what I call the invisible worker inside ourselves; we don’t have to feed him or pay him, and he works even when we are sleeping. We must be aware of his presence, and from time to time stop thinking about what we are trying to do, stop being obsessed about answers, and just give him the room, the possibility, to do his work. He is tenacious, you see. He never loses hope.

Screenwriter Jean-Claude Carrière discusses his remarkable career. Related: The Discreet Charm of the Bourgeoisie revisited.

Tragic Time Capsules: Capturing the Decay of Forgotten Olympic Venues.

Louis Menand on “The Puns and Detritus in James Joyce’s Ulysses“.

• Saul Bass’s original ending for Phase IV unearthed in Los Angeles.

Katherine Lanpher uses witchcraft to find a New York apartment.

Italo Calvino’s adolescence – that in-between time.

• The early film posters of Waldemar Swierzy.

Psychedelic nano-art in oils and ferrofluids.

David Toop has a blog.

Callum James Paper.

Bodies of Water (1995) by David Toop